I 



POETASTER 

By ben JONSON 

AND 

SATIROMASTIX 

By THOMAS DEKKER 



EDITED BY 
JOSIAH H. PENNIMAN v 

PROFESSOR OF ENGLISH LITERATURE 
UNIVERSITY OF PENNSYLVANIA 



BOSTON, U. S. A., AND LONDON 

D. C. HEATH AND COMPANY 



.A'7 



COPYRIGHT, 1913. BY T>. C HEATH & CO. 
ALL RIGHTS RESERVED 



©CI.A343920 



1^ 



BEN JONSON 

Ben Jonson was born, the son of a clergyman, in 1573, at 
Westminster. A month before his birth his father died and left the 
family in poverty. His mother then married a bricklayer, and young 
Jonson was *« poorly brought up." He first went to school in the 
Church of St. Martin' s-in-the-Fields, and later, with the aid of 
William Camden, then an usher, to Westminster School. He prob- 
ably, went to neither Oxford nor Cambridge, but was afterwards given, 
** by their favour not his studie," a degree from each. He went as 
a youth to Flanders and joined the English troops in the wars of 
William the Silent with Spain. Here he slew in single combat one 
of the enemy and took spo/ia opima from him. He returned with- 
out a penny to London about 1592 and married. He was not happy 
with his wife, whom he considered <*a shrew yet honest." 

Jonson began to write for the stage about 1595. In 1597 he ap- 
pears, from the entry in Henslowe, to have been both a player and 
a playwright to the Admiral's men; in 1599 he was probably writing 
a tragedy for them. In the same year he fought a duel with Gabriel 
Spenser, a fellow actor, and killed him. He was arrested, tried, con- 
victed, but escaped the gallows through the benefit of clergy. While 
in prison he embraced the Catholic faith, but returned twelve years 
later to the Church of England. The occurrence with Spenser caused 
a break in Jonson's relations with the Admiral's Company, and he 
offered the rival company. The Lord Chamberlain's Servants, his 
comedy, E-very Man in His Humour. It was accepted and produced 
with great success at The Curtain in 1598, Shakespeare taking a 
part. This play put him securely in the first rank of dramatic writers. 
To the year 1598, too, after E-very Man in His Humour to which 
it alludes,^ belongs in its present form The Case is Altered. It was 
written originally somewhat earlier. In 1 599 he wrote for the Cham- 
berlain's men, Every Man out of His Humour ^ in 1600 and 1 601 



vi llBiograp^^ 

for the children of the Queen's Chapel, Cynthia^ s Rei'eh and Poet- 
aster. These three plays contain Jonson's contribution to the War 
of the Theatres. Jonson now turned to tragedy and wrote his great 
classical tragedy Sejanus, I 603. For his sources of It he turned, un- 
like the writers for the popular stage, to the Latin authors themselves, 
quarried from them his facts, and affixed for reference footnotei to 
prove his '* integrity in the story." 

In 1603 Jonson wrote upon request an entertainment for the re- 
ception of King James at Althorp. On Twelfth Night, 1605, the 
first of his long series of masques, The Masque of Blackness^ was per- 
formed at Whitehall with scenery by Inigo Jones. Early the same 
year Eastiuard Hoe, a play by Chapman, Marston, and Jonson, gave 
offence at Court through an allusion it contained to the Scots, who 
flocked at the accession of King James to London in search of ad- 
vancement. Chapman and Jonson were imprisoned, but Marston, 
perhaps the person really responsible, escaped.' Between the years 
1603 and 1608 he wrote, besides various *' entertainments," the 
Masque of Blackness 1 605, and the Masque of Beautie 1 608. In 
1605, 1609, 1610, 1611, 1614 and I 6 16 came respectively ^0/- 
pone^ Epicoene, The Alchemisty Catiline^ Bartholomeiv Fair and The 
Devil is an Ass. Each of these plays was a solid contribution to dram- 
atic literature and added substantially to Jonson's reputation. He be- 
came at once the first critic and, next to Shakespeare, the first dram- 
atist, of his day. Within this period, too, belong the four masques, 
Hymenaei, 1606, The Masque of i^eens^ 1 609, Lot-'c Freed from 
Ignorance and Folly ^ 161 1, and Masque of Christmas ^ 1 61 6, In 16 1 3 
he went to France as tutor to a '* knavishly inclined " son of Raleigh, 
but returned to England the same year. In 1 61 6 Jonson collected his 
work and published a folio edition, which contained besides plays and 
masques a collection of Epigrams and The Forrest consisting of mis- 
cellaneous poems. 

In 1 61 8 Jonson set out on his memorable journey to Scotland, 
While there he enjoyed a warm reception from the literary society 
of Edinburgh, was made a burgess, and spent some weeks with the 

* For correspondence of Chapman and Jonson asking for release, 
see Jonson's Eastward Hoe, The Alchemist, Schclling, Belles- 
Lettres-Series, pp. 158-64. 



^iograpl)^ vii 

Scotch poet, William Drummond of Hawthornden. On his return 
to London he visited Oxford and formally received the degree of 
M. A. To the years 1 6 1 9 and 1 620 belong respectively the masques, 
Pleasure Reconciled and Neives from the Neiv World. In Octo- 
ber of 1621 King James openly showed his regard for Jonson by 
granting him a reversion of the office of Master of the Revels after 
the deaths of Sir George Buc and Sir John Ashley. Besides, he raised 
Jonson's pension to ;^200 and even intended, some say, to knight 
him. From 1621 to 1624 Jonson was busily engaged in writing 
masques. Within these years he wrote The Masque of Gyp des, 1621, 
The Masque of Augur es^ 1622, Time Vindicated^ ^623, and The 
Fortunate Isles, 1 626. He probably had a hand, with Rowley and 
Fletcher as collaborators, in the production of The Bloody Brother^ 
1624. Besides these he wrote in 1623, on the loss of his library by 
fire. An Execration against Vulcan, and contributed to the first folio 
edition of Shakespeare's Worka the famous prefatory poem, To the 
Memory of my Beloved, the Author, Air. JVilUam Shakespeare and 
•what he hath left us. 

With the accession of King Charles masking was dropped for a 
while, and Jonson lost his influence at Court. Driven by want he 
returned to the popular stage. He wrote in 1625 The Staple of 
Neivs and in 1 629 The Neiv Inn, the latter of which proved a sig- 
nal failure at its first performance. In 1628 Jonson became chro- 
nologer to the City of London, was restored to favor at Court, and 
commissioned by Charles to write a masque, Lo-ve's Triumph through 
Callipolis, 1630. It evidently pleased, for Jonson was called upon to 
provide the Slirovetide Masque, Chlortdia. His allowance, too, of one 
hundred marks was '* converted into pounds." Chloridia, however, 
was not successful and led to trouble with his collaborator, Jones. 
This quarrel with Jones harmed Jonson more than his enemy. In 
1631 the City withdrew his salary as City Chronologer and he was 
again driven to try for the stage. His comedy. The Magnetic Lady, 
1632, did little more than elicit ridicule from his enemies, and his 
last complete comedy, The Tale of a Tub, 1633, was *' not likt " at 
Court. He continued, however, to write a few occasional verses in 
honor of the King and his Court, with the result that in 1634116 
once more obtained the salary as City Chronologer. Smce early in 
the reign, Jonson had been ailing with the dropsy and the palsy, and 



viii UBiograp^^ 

now for three years lingered on in ill health. He prepared for the 
itage, and perhaps wrote, the fragmentary Sad Shepherd. He died 
August 6, 1637, and was buried in Westminster Abbey. 



THOMAS DEKKER 

Thomas Dekker was born in London. This he tells us in his 
Rod for Runaivayei : 

*'0 London! (thou mother of my life, nurse of my being) a 
hard-hearted sonne might I be counted if here I should not dissolve 
all into tears, to hear thee pouring forth thy passionate condole- 
ments." 

The year of his birth is unknown. He refers, in addressing the 
Middlesex Justices of the Peace, in English F'il/anies Seven Seferal 
Times Pressed to Dtath^ 1 63 7, to ** my three score yeares devotedly 
yours in my best service." Taken literally this would put the date 
of his birth at least as far back as 1577. His reference, how- 
ever, to "service" would justify us in assigning an earlier date. 
He was born, it is probable, in or within a few years of i 570. His 
whole career was associated with London. Here, in spite of inces- 
sant toil, he lived a life of struggle and privation. He was repeatedly 
thrown into the debtor's prison, to be released by sympathizing 
friends. Henslowe twice had him released from arrest, from the 
Counter in February of 1598 and from the Chamberlain's Men in 
January of 1 599. He was confined, Oldys asserts, in the King's 
Bench Prison from 1613 to 1616. The registers of St. Giles, 
Cripplegate, record the christening of two daughters of Thomas 
Dekker, one in October of i 594, another in October of 1602; they 
also record the burial of a daughter in November of 1598, and the 
burial of a son at St. Botolphs, Bishopsgate, in April of 1598. All 
these, it is possible, were children of the dramatist, for St. Giles, 
Cripplegate, was near the Fortune Theatre, owned by Henslowe 
and Alleyn, for which Dekker wrote. (Dekker's connection with 
the Merchant Tailors' Company has been suggested by the fact 
that on the title page of Troja Nova Triumphans 16 12, preserved 
in the British Museum, is written in contemporary handwriting 
near Dekker's name, ♦ • marchanuilor. " This, however, proves 



llBiograpti^ ix 

nothing.) He began his career as a writer, we learn from Henslowe, 
as early at least as January, 1598. From then on for forty years 
Dekker worked as dramatist and hack writer, collaborating with 
other dramatists, revamping old plays, and writing new ones. He 
died, it is supposed, about 1640. 

Between the years 1597-98 and 1602, which we might desig- 
nate as the first period of Dekker's activity, this fluent writer was 
extremely busy. Within them he wrote single-handed, according 
to Henslowe's Diary, nine pieces : (i) Fayeton, 1597-98; (2) The 
Triplicity of Cuckolds, 1598; (3) First Introduction of the Cfvil 
Wars of France, ^598-99; (4) Orestes Furies, 1599 ; (5) The 
Gentle Craft, T599, published anonymously, 1600, as The Shoe- 
maker^ s Holiday, or the Gentle Craft; (6) Bear a Brain, 1599 j 
(7) fVhole History of Fortunatus, 1 599, published anonymously, 
1600, as The Pleasant Comedie of Old Fortunatus; (8) Truth's 
Supplication to Candlelight, 1599-1600; (9) Medicine for a Curst 
Wife, 1602. Besides these, he wrote with Drayton, Wilson, and 
Chettle : (l) Earl Godivin and his Three Sons, 1 598 ; (2) Second 
Part of Godivin, 1598 ; (3) Pierce of Ex ton, I 598 ; (4) Black 
Bateman of the North, 1598. With Drayton and Wilson he col- 
laborated in: (l) The Mad Man s Morris, 1598; (2) Hannibal 
and Hermes or Worse feared than hurt, 1 598 ; (3) Chance Medley, 
1598 (to this Chettle or Munday also contributed). With Dray- 
ton alone he wrote : (1) First Cifil Wars in France, 1598 ; (2) 
Connan Prince of Corn-wall, 1598 ; (3) Second Part of the Ci-vi/ 
Wars in France, 1598; (4) Third Part of the Ci-vil Wars in 
France. Three plays by Dekker and Chettle were produced in 
1599: (l) Troilus and Cressida ; (2) Agamemnon ; (3) The Step- 
mother's Tragedy. He wrote with Ben Jonson in 1599 a domestic 
tragedy. Page of Plymouth ; with Jonson, Chettle, and " other 
gentellman" a chronicle play, Robert the Second King of the Scots ; 
with Chettle and Haughton, Patient Grissel, published anony- 
mously in 1603. In 1600 he wrote with Day and Haughton : A 
Spanish Moor's Tragedy; with Chettle, Day, and Haughton, 
Se-ven Wise Masters; with Munday, Drayton, and Hathway (i) 
The Golden Ass, and Cupid and Psyche, and (2) Fair Constance of 
Rome. The year 1601 marks a slackening in Dekker's activity. He 
had to do, according to Henslowe, with only one play, King Sebas- 



tian of Portingale, in which he worked with Chettle. 1602 is 
another year of production. In it he wrote with Drayton, Middle- 
ton, Webster, and Munday, 'too harpes' ^ (Two Harpies); with 
Heywood, Wentworth Smith, and Webster, Two Parts of Lady 
Jant Grey, 1602 (published, 1607, as The Famous History of Sir 
Thomas fVyat, by Dekker and Webster) ; with Heywood and 
Webster, Christmas Comes but Once a Tear ; with Munday, "Jeftha. 
There are a few other entries relating to Dekker in the Diary for 
this period. On September 6, 1600, Henslowe records payment to 
Dekker of twenty shillings for the book called ♦* forteion tenes " 
(Fortune's Tennis). In December, 1600, Dekker was paid forty 
shillings for altering his play Phaeton on the occasion of its repre- 
sentation at Court. January, 1601-02, he received ten shillings for 
writing a prologue and epilogue for the play of Ponesciones pillet 
(Pontius Pilate f); and twenty shilling* for altering an old play, 
Tasso' s Melancholy. In 1602 he was again engaged on this play, 
and on a revision of a play called Old Castle. Satiromastixy written 
in 1 60 1, was published, quarto, in 1602. 

Another period of Dekker' s career might be marked off from 
1602 to 1613. In this latteryear he fell once more into the hands 
of the law, and was confined till 16 16 in the King's Bench Prison. 
Verses written that year from the King's Bench and an undated 
letter addressed to Edward Alleyn points him out as the friend in 
need. Within these eleven years Dekker wrote alone the follow- 
ing plays and pamphlets : The Wonderfull Yeare 160J, ivherein 
is shelved the picture of London lying sick of the Plague, 1603 j 
The Honest JVhore, 1604 (pl.)i Magnificent Entertainment gi-v en to 
King James, 1604 ; The Se'ven Deadly Sinnes of London, 1606 j 
Neives from Hell, Brought by the DiueW s Carrier, 1606, re- 
printed in 1607, with additions, as A Knight' s Conjuring, Done in 
Earnest, Discovered in Jest; The Double P. P., a Papist in ArmSy 
Bearing Ten several Shields, etc., 1606; The ff' hore of Babylon, (^\.) 
1607 (4to) ; The Dead Tearme, 1608 (4to) ; The Belman of Lon- 
don, 1608 (4to) ; Lanthorne and Candlelight, 1608 (4to), which 
was frequently republished with changes ; The Raven s Almanacke 
For Telling of a Plague, Famine or Civill JVarre, 1609 (4to) ; 

* Greg., Henslonue" s Diary, Part i, p. 1 67, reads, "Shapes." 



315iogtapl|^ xi 

Guh Hornebooke, 1 609 (4to) ; Work for Armorers, or the Peace is 
Broken, 1609 (410)5 Foure Birds of Noah's Arke, 1609; Jests 
to make you Merrte^ 1607, probably entirely by Dekker; If it be 
not goody the Dei'iil is in it, (pi.) 16 12 (4to) ; Troja No'va Tri- 
umphans, 1612 (4to), a pageant; A Strange Horse Race at the 
end of ivhich comes in Catchpols Masque, 1 6 1 3 . Over and above 
this vast amount of production, he v/rote with Webster, Westtuard 
Ho, in 1605, and Northward Ho, 1607; and with Middleton, 
The Roaring Girl, in 1 61 1. 

The years from 1616 to 1637 were spent mainly in collaborat- 
ing with other dramatists. In 1620 appeared Dekker His Dreame, 
a verse tract of great rarity but little interest. In 1622 he wrote 
with Massinger what may be considered one of his best efforts. The 
Virgtn Martyr. To 1625 belongs A Rod for Runaivayes, which 
describes the plague-fright of 1625. Three years later, 1628, came 
the pamphlet, Warres, fVarres, Warres. In 1628 and 1629 
Dekker wrote two pageants, Britannia"" s Honour and London s 
Temple. In 163 1 Match Me in London was published and The 
Noble Spanish Soldier entered in the Stationer's Register. Thia 
latter play was afterwards published in 1634 by Vavasour as The 
Noble Soldier, or a Contract Broken Justly Re-venged. There is 
mention in Sir Henry Herbert's Diary, March, 1624, of*' The 
Sun\ Darling in the nature of a masque, by Deker and Forde." In 
1637 Dekker republished the pamphlet Lanthorne and Candlelight 
under the title of English Villainies, supposedly the last publica- 
tion before hjs death. Subsequent to this date were published The ' 
Sun^ s Darling, 1 65 6, and The Witch of Edmonton by Ford, Row- 
ley, and Dekker in 1658, Dekker was the author of various other 
writings. A poem of his, The Artillery Garden, was entered in 
the Stationers' Register, 161 5, but no copy of it is extant. Jacondo 
and Astofo, a comedy, and The King of Sivedland, an historical 
play, were entered in the Register, 1660, but were destroyed later 
by Warburton's servant. A play, The Jeiv of Venice, by Dekker, 
was entered in the Stationer's Register, 1653, but never published. 
A French Tragedy of the Bellman of Paris, by Dekker and Day, 
was licensed, 1623, but not printed. Dekker also contributed 
verses to The Third and Last Part of Palmerin of England, 1 602 ; 
A True and Admirable History of a May den of Confolens, 1603 ; 



xii 515tograpli^ 

the Works of Taylor the Water-Poet, 1630 ; and Richard Brome's 
Northern Lass, 1 63 2. Dekker was the possible author of the 
pamphlets Gree-vous Grones for th$ Poore, 1602, and Neives from 
Gra've' s End, 1604. 

These works, then, constitute Dekker's contribution to the 
great literary output of the Elizabethan age. Not all of them, to be 
sure, have permanently enriched our literature. The best of them, 
however, belong to the very first order of dramatic composition, 
and warrant Lamb's enthusiastic estimate : "Dekker had poetry 
enough for anything." 



3Intt;oDuct(cin 

The masters of dramatic portraiture in the days of 
Elizabeth frequently made their contemporaries objects 
of ridicule and caricature, at times good-naturedly, and 
at times bitterly, and even after a lapse of three hundred 
years we are able to recognize some of the men so repre- 
sented. To the audiences of the time the plays must 
have afforded an unfailing source of amusement with 
their ** local hits," personal allusions and even actual 
impersonations of well-known men. In The Guls Horn- 
book (1609) Dekker has given us an account of how 
the gallants conducted themselves at the play-house, and 
in doing so has made several allusions to what we know 
to have been actual incidents in which Ben Jonson and 
his one-time enemy John Marston figured. 

** Now sir, if the writer be a fellow that hath either 
epigrammd you, or hath had a flirt at your mistris, or 
hath brought either your feather, or your red beard, or 
your litde legs etc. on the stage, you shall disgrace him 
worse then by tossing him in a blancket, or giving him 
the bastinado in a Taverne, if, in the middle of his play, 
(bee it Pastoral or Comedy, Morall orTragedie) you 
rise with a screwd and discontented face from your 
stoole to be gone ; no matter whether the Scenes be good 
or no." ' 

* Dekker, The Guh Horne-Booke^ 1 609, Huth Library, cd. 
A. B. Grosart, 1885, vol. 11, p. 253. 



ih 



xiv BIntroDuction 

Marston, as ** Playwright,*' was probably the object 
of Jonson's Epigrams, 49,68 and 100. The other al- 
lusions are to Poetaster, Act 11, Sc. I , and Act iii, Sc. 3, 
when the red beard and hair, little legs, indicative 
of gentle birth, ash-colored feather, and mistress of 
Crispinus (Marston) are referred to. Horace (Jonson) 
was tossed in a blanket at the close of Satiromastix. 

Poetaster and Satiromastix, both performed in 1 601, 
jH represent the culmination of a quarrel, or series of quar- 
' rels, between Jonson and other poets and playwrights, 
which found expression in a number of plays, and per- 
haps also in personal encounters. We know that on at 
least one occasion Jonson and Marston came to blows, 
and the former's statement concerning this, made years 
afterwards (161 9) to Drummond of Hawthornden, 
contains the only direct mention by any of the princi- 
pals of the name of a man satirized by him in any play 
which treated of their quarrels. ' 

Jonson's statement as reported by Drummond was : 

** He had many quarrels with Marston, beat him, and 
took his pistol from him, wrote his Poetaster on him." ^ 

Next in importance to this is Dekker's statement in 
the Dedication ** To the World" oi' Satiromastix. He 

^ Except Dekker's mention, in Dedication of Satiromastix ^ of 
a certain Captain Hannam as the original of Jonson's Tucca. 

In the Parnassus trilogy a number of authors are referred to by 
name, but not as characters in the plays. 

* Cf. Jonson's Epigram 68 on Playwright (Marston ?): 
Playwright convict of public wrongs to men, 
Takes private beatings, and begins again, 
Two kinds of valour he doth show at once ; 
Active in's brain, and passive in his bones. 



3(IntroUuction xv 

refers directly to Jonson's differences with his fellows 
and to the fact that they formed the material for plays: 

**...! care not much if I make description (before 
thy Universality) of that terrible Poetomachia, lately 
commenc'd between Horace the second, and a band of 
leane-witted Poetasters. They have bin at high wordes, 
and so high, that the ground could not serve them, but 
(for want of Chopins) have stalk't upon Stages. 

*♦ Horace hal'd his Poetasters to the Barre, the Poet- 
asters untruss'd Horace — how worthily eyther, or 
how wrongfully, (World) leave it to the Jurie : Horace 
(questionles) made himselfe beleeve, that his Burgonian 
wit might desperately challenge all commers, and that 
none durst take up the foyles against him. — It's likely, 
if he had not so beleiv'd he had not bin so deceiv'd, for 
hee was answer' d at his owne weapon." 

**...! wonder what language Tucca would have 
spoke, if honest Capten Hannam had bin borne with- 
out a tongue." 

Two other direct references to the ** Poetomachia" 
are important, though they do not help us to determine 
the names of persons satirized in the plays. They do, 
however, give us the time during which the plays di- 
rectly concerned were performed, and the very interest- 
ing information that there were contemporary interpre- 
tations of the characters in Jonson's plays, the accuracy 
of which Jonson denied.^ At the close of Poetaster in 

^ It is quite possible that the playwrights inserted allusions which 
could not possibly refer to the man whom they were really satirizing 
in order to protect themselves against actions for libel. The disclaim- 
ers of Jonson and Marston and their references to contemporary 
misinterpretations are suspicious. 



i^/ 



xvi 31ntroUttction 

the folio (1616) is an ** Apologetical Dialogue which 
was only once spoken on the Stage ' ' and which is prob- 
ably the " Apology from the Author " which he in- 
tended to append to the quarto (1602) but did not, 
being, as he tells us in a note, ** restrained by Author- 
ity." He was brought before the Lord Chief Justice for 
his attack on lawyers and soldiers, and his innocence was 
answered for by his friend Mr. Richard Martin to whom 
he addressed the epistle prefixed to the folio edition of 
the play. In the quarto note and folio dialogue Jonson 
refers directly to his differences with his fellows. He 
denies having taxed ** the law and lawyers, captains and 
players by their particular names, ' ' of which he had been 
accused, but says : 

. . . sure I am, three yeeres, 
They did provoke me with their petulant stiles 
On every stage : and I at last, unwilling, 
But weary, I confesse, of so much trouble, 
Thought, I would try, if shame could winne upon *hem. 

Now for the Players, it is true, I tax'd 'hem, 

And yet, but some; and those so sparingly, 

As all the rest might have sate still, unquestioned, 

Had they but had the wit, or conscience, 

To think well of themselves. But, impotent they 

Thought each mans vice belonged to their whole tribe : 

And much good doo't 'hem. What th' have done 'gam«t me, 

I am not mov'd with. If it gave 'hem meat. 

Or got 'hem clothes. 'Tis well. That was their end. 

Onely amongst them, I am sorry for 

Some better natures, by the rest so drawne, 

To run in that vile line. 

Jonson showed his annoyance at attempts to identify 
characters and allusions in several other passages, notably 



JIntroDuction xvii 

in the last act in Poetaster in which Asinius Lupus 
hands Caesar a paper found in Horace's study, and in- 
sists that the wolf preying on the carcass of an ass must 
be intended for himself (Asinius Lupus) and that the 
vulture, because it has a beak, legs, talons, wings and , 
feathers, must be an eagle and therefore intended for 
C^sar. In the Dedication of Folpone, 1607, Jonson 
again objects to attempts to fix the identity of charac- 
ters in his plays. An interesting fact in connection with 
this Preface is that Jonson again uses the term "petu- 
lant stiles" to characterize the writings of his enemies. , 

We have from these statements of Jonson and Dekker ■ 
the information that the Poetaster, Crispinus, is Marston 
and that Tucca in Poetaster and Satiromastix had as his \ 
original a certain Captain Hannam about whom we \ , . 
know nothing else. We know of course that Horace in j fV O 
both plays is Jonson, and Demetrius, the ** dresser of j 
plays" ** hired to abuse Horace and bring him in in a 
play," is Dekker, author of Satiromastix. This is all 
we know about the identity of characters in either of 
these two plays from any direct statements of their au- 
thors, either in the plays, or about them. | 

Dekker in Satiromastix identifies Crispinus (Mars- 1 
ton) and Demetrius (Dekker) of Poetaster with Hedon 
and Anaides of Cynthia' s Revels ^ an identification which 
will be discussed later. He gives us information about 
characters in other comedies of Jonson and indicates that 
the plays are hkewise to be examined for personal allu- 
sions. 

Tucca in Satiromastix says to Horace (Jonson) : 

<* You must be call'd Asper, and Criticus, and Hor- 



xviii 31ncroDuction 

ace, thy tytle's longer a reading then the stile a the big 
Turkes: Asper, Criticus, Quintus Horatius Flaccus." 

He further mentions by name some of Jonson's ear- 
lier plays: 

* * A gentleman or an honest cittizen shall not sit in 
your pennie-bench Theaters, with his squirrel by his side 
cracking nuttes; nor sneake into a Taverne with his Mer- 
maid; but he shall be satyr'd and epigram'd upon, and 
his humour must be run upo' th' stage; you'll ha Every 
Gentleman in* s humour and Every Gentleman out on* s 
humour. . . . 

** You and your Itchy Poetry breake out like Christ- 
mas but once a yeare, and then you keepe a Revelling, 
and Araigning and a scratching of mens faces as tho you 
wereTyber the long-tail'd Prince of Rattes doe you?** 

Jonson appears as Asper in Every Man out of his 
Humour y Crites (Criticus) in Cynthia* s Revels, and 
Horace in Poetaster or His Arraignement. He does not 
appear in Every Man in his Humour y as Dekker tells us 
in the Preface to Satiromastix, from which we have al- 
ready quoted, for he says: 

**If his [Horace's] criticall Lynx had with as nar- 
row eyes, observ'd in himselfe, as it did little spots upon 
others, without all disputation, Horace would not have 
left Horace out oi Every Man in* s Humour.*^ 

These well-known and oft-quoted passages contain 
all of the direct statements by the principals concerning 
the identity of persons satirized in the plays and give 
us the names of Jonson, Marston, Dekker, and Captain 
Hannam; and the plays, Every Man In His Humour ^ 
Every Man Out of His Humour, Cynthia's Revels^ 



3(IntroDuction xix 

Poetaster t or his Arraignment y and Satiromastix. His- 
triomastixt which was rewritten by Marston, is men- 
tioned by Clove in Every Man Out of His Humour. 

Our next sources of direct information are contem- 
porary or nearly contemporary allusions to the stage- war 
by writers not involved in it as principals. While there 
are several such references ' they give us no information 
which we did not already have from the plays them- 
selves. The only really important statement is one made 
by Aubrey in his life of Sir Walter Raleigh. ^ 

<*From Dr. John Pell: In his youthfull time, was one 
Charles Chester, that often kept company with his ac- 
quaintance; he was a bold impertenent fellowe, and they 
could never be quiet for him ; a perpetuall talker, and 
made a noyse like a drumme in a roome. So one time 
at a taverne Sir W. R. beates him and seales up his 
mouth (i.e., his upper and neather beard) with hard 
wax. From him Ben Johnson takes his Carlo BuiFono 
(i.e., 'jester') in Every Man Out of His Humour. ^^ 

The statement of Aubrey, which Dr. Small 3 quotes 
as probably to be accepted, concerning the identity of 
Carlo BufFone with Charles Chester, was noticed and 
discussed by Gifford in 1816, and the reasons then 
presented for rejecting Aubrey's authority are just as 
good now. ** Aubrey tells us that Carlo BufFone was 
taken from one Charles Chester, * a bold impertinent 
fellow ' who kept company with Sir Walter in his youth. 
(Raleigh was born in 1552; in his youth , therefore, 

* For quotations see Small, The Stage parrel, pp. i and 2. 

* Aubrey, Lives^ edited by A. Clark, 1898, vol. 11, p. 184. 
' Tke Stage parrel ^ p. 36. 



XX 31nttoliuction 

our author [Jonson] must have been in his cradle. ) 
But besides that there is no similarity between the two 
characters, as may be seen by turning to the Dramatis 
Personae of this comedy ^Every Man Out of His Hu- 
mour\ , the incident of which Aubrey speaks, probably 
took place before Jonson was born, though he might 
have heard of it, and adopted it ; if after all the story 
was not rather made up from the play. The only per- 
sonal allusion which 1 can discover is to Marston,"' etc. 
GiiFord's argument as to the identity of Carlo and 
Marston is based chiefly on the fact that Carlo is ad- 
dressed as **Thou Grand Scourge or Second Untruss of 
the Time,'* in supposed allusion to Marston' s Scourge 
of Villaniey i 598.* There is in Every Man Out of His 
Humour an attack on Marston* s vocabulary in the 
fustian talk of Clove and Orange. Aubrey's identifica- 
tion of Carlo Buffone with Charles Chester has been 

^ Gifford, Jonson (18 1 6) i, li. Gifford-Cunningham, Jonson 
(1875), I, Iv-lvi. Gifford calls attention to other examples of Au- 
brey's unreliability {thid. cxlviii). The following show Aubrey's 
ideas of evidence: "He killed Mr. . . . Marlow, the poet on 
Bunhill, comeing from the Green-Curtain play-house. From Sir 
Edward Shirburn." (Aubrey, Li'ves, ed. Clarlc, 11, 13.) 

** Ben Johnson had one eie lower than t'other, and bigger, like 
Clun, the player; perhaps he begott Clun." [Ibid. 14.) 

Gifford mentions also ( Gifford-Cunningham, ^on:o« (1875), 
I, clvii) the unreliability of Langbaine, who states " from Marston's 
publisher, that this poet * is free from all ribaldry, obscenity,' etc. 
A statement followed by Whalley and a number of other writers, 
who simply repeated what had been said, without any effort to as- 
certain the truth." Gifford says, *' We have but to open his works 
to be convinced that Marston was the most scurrilous, filthy and 
obscene writer of his time." 

* Penniman, The War of the Theatres^ p. 44. 



31ntroDuction xxi 

practically ignored by critics until Dr. Small again called 
attention to it and quoted other references which tended 
to confirm its possible accuracy/ as does also independ- 
ently Mr. Hart.* Dr. Mallory in his edition o{ Poet- 
aster follows Dr. Small. 

The Return from Parnassus^ part second, a play 
" Publiquely acted by the students in Saint Joh ns Colledge 
in Cambridge,'* performed at Christmastide 1601-02, 
as we know from internal evidence, contains an allusion 
to the Jonson-Marston-Deiiker quarrel which is of the 
greatest interest, sinceit involves Shakespeare. Kempe 
and Burbage, two of the most popular actors of the time 
appear and, after an exhibition of mimicry, Kempe 
says to Burbage : **Few of the university pen plaies well, 
they smell too much of that writer Ovidy and that writer 
Metamorphosis y and talke too much of Proserpina and 
yuppiter. Why heres our fellow Shakespeare puts them 
all downe, I and Ben Junson too. O that Ben Jonson 
is a pestilent fellow, he brought up Horace giving the 
Poets a pill, but our fellow Shakespeare hath given him 
a purge that made him beray his credit." 

What the ** purge " was is a matter on which critics 
differ. Some think that it was Satiromastix which, al- 
though written by Dekker was performed at the Globe 
theatre by the Chamberlain' s Company, that is, at Shake- 
speare's theatre by Shakespeare's Company. 3 Other 
critics insist that the ** Purge" was a play, and have 
found Jonson represented as Ajax in Troilus and Cres- 

^ Small, The Stage parrel, p. 36. 

* H. C. Hart, The H^orks of Ben Jomon, vol. i, p. xxxvii. 

' Penniman, The JVar of the Theatres, p. 145. 



xxii JintroUuction 

sida.^ There seem to be no very convincing reasons 
adduced in support of the various theories as to Shake- 
speare's part in the *' War.'* 

We have now set forth the direct and external evi- 
dence in regard to the persons concerned in the quarrel 
and have found no explanation of its cause or account of 
its progress except in the Dedication of Satiromastix, 
the Apologetical Dialogue appended to Poetaster (folio) 
and Jonson's statement recorded by Drummond in the 
Conversations. Jonson says, in the Apologetical Dia- 
logue, ** three years they did provoke me with their 
petulant stiles on every stage," and told Drummond that 
Poetaster was written on Marston as a result of many 
quarrels which began with Marston' s representing him, 
Jonson, ** on the stage. "^ 

^ Small, The Stage parrel, p. 170. See also Fleay, Chronicle 
of English Drama, i, 366 and 259 and 11, 189. 

* While it is no part of the purpose of this book to treat of mis- 
takes made by critics in attempts to identify characters in the plays, 
there are several such mistakes, which (as they concern Marston and 
Dekker) have caused erroneous ideas of the whole *' war." We 
have Jonson's statement to Drummond that Poetaster was written 
on Marston, who appears as Crispinus. That statement was not 
published until 1842, when the Shakespeare Society published 
Drummond's Con-versations from a manuscript copy edited by David 
Laing, who stated that his edition was based on a transcript in 
manuscript of the original notes, which are missing, never having 
been returned by the editor of the 17 1 1 edition of Drummond. 

The previous edition of the Con-versations, published in 171 1 in 
Drummond's JVorks, was incomplete and did not contain the passage. 
Langbaine, in An Account of the English Dramatick Poets, 1 691, p. 
123, stares that * ' under the title of Crispinus Ben lashed our author ' * 
[Dekker] . Hawkins, who first reprinted Satiromastixin The Origin 
of the English Drama, 1 773, repeats Langbaine' s statement. Drake, 



31ntrol>uction xxiii 

The passage in which this statement is found is 
printed as follows by Laing : — 

** He had many quarrells with Marston, beat him, and 

in Shakespeare and his Timesy 1817, i, 487, says that Jonson satir- 
ized *' Dekker in his Poetaster ^ 1 601, under the character of Cris- 
pinus." Disraeh in parrels of Authors repeats the mistake, and 
is quoted in the introductor)- essay in Pearson's reprint of Dekker's 
works, 1873 (vol. I, p. xvii), notwithstanding the fact that Jonson's 
statement had been publislied and was accessible. All these mistakes 
arose from the fact that it was Dekker who in Satiromastix an- 
swered Poetaster whence it was concluded that he must have been 
the *' poetaster," Crispinus. 

Another mistake, more recent, but very misleading, has arisen 
from the fact that Marston' s vocabulary is especially attacked in 
Every Man Out of His Humour and in Poetaster. It has been thought 
that the provocation was Marston's ridicule, in the Dedication of 
The Scourge of Villanie, of the new-minted epithets of ''Judicial 
Torquatus" whose words " reall, intrinsecate, Delphicke," are found 
in Jonson's extant works, the first in Every Man In His Humour 
(quarto), the second in Cynthia" s Revels^ and the third in the trans- 
lation of Art Poetical The dates of the last two are not early 
enough to have been referred to by Marston in 1598. A second 
mention of Torquatus in Satire XI has never been explained at all 
as referring to Jonson. Both passages, as has recently been shown 
by Mr, H. C. Hart in Notes and ^eries. Series 9, vol. xi, pp. 
aoi, 281, 343, probably refer to Gabriel Harvey and not to Jonson. 
Dr. Small's conclusion that Torquatus was either " some half-edu- 
cated courtly critic now incapable of identification, or more proba- 
ably, — a type-character standing for the whole class of such 
critics " is therefore also probably incorrect.^ 

GifFord interpreted the character of Crispinus correctly as in- 
tended, not for Dekker, but Marston,^ while Dekker was Deme- 
trius, The fact that these men appear together in Poetaster led to 

* Penniman, The War of the Theatres^ p. 8. 

" Small, The Stage parrel, p. 66. 

^ GifFord-Cunningham, vol. 11, p. 428, note. 



xxiv 31ncroliuction 

took his pistol from him, wrote his Poetaster on him ; 
the beginning of them were, that Marston represented 
him in the stage, in his youth given to venerie. He 
thought the use of a maide nothing in comparison to the 
wantoness of a wyfe, and would never have ane other 
mistress. He said that two accidents strange befell him: 
one, that a man made his own wyfe to court him, whom 
he enjoyed two years ere he knew of it, and one day 
finding them by chance, was passingly delighted with 
it;" ctc.^ 

As the manuscript from which Laing printed was a 
copy, and not the original by Drummond, it is entirely 
possible that changes in punctuation may have been made 
by the copyist. With this in mind the editor of this 
volume suggested, in a paper read before the Modern 

the conclusion that they must have been satirized also in earlier plays 
by Jonson and that therefore, Carlo BufFonc and Fastidious Brisk, 
as well as Clove and Orange, in E'very Man Out of His Humour 
were likewise Marston and Dekker, and that Hedon and Anaides 
in Cynthia s Re-vels were the same two men. For this identification 
of the last pair Dekker is responsible, for, in Satiromastix, he speaks 
of Hedon and Anaides as being the same persons as Crispinus and 
Demetrius. It has been shown, however (see p. xxxviii below. Also 
Penniman, The War of the Theatres^ p. 8i), that Hedon was quite 
probably a caricature of Samuel Daniel, and Anaides also may have 
been neither Marston nor Dekker. Dekker, who was called in 
hurriedly, as his play Satiromatrix shows, to reply to Jonson, would 
not have hesitated to make any applications of Jonson's characters 
that suited his purpose. Tucca speaks of Demetrius (Dekker) as 
having been hired by the players, not by any individual or individ- 
uals, to abuse Horace (Jonson). Jonson protested in several places 
against misinterpretation of his characters. 

' Con'versations ivith Drummond. Ed. Laing, Sh. Soc. p. 20. 
See also p. 11. 



31ntroi)uttion xxv 

Language Association (1895) and in The War of the 
Theatres (1897),^ a change in the punctuation, con- 
sisting of the transposing of the comma after ** Stage " 
and the period after ** Venerie/' making the passage 
read — 

** He had many quarrells with Marston, . . . the be- 
ginning of them were, that Marston represented him in 
the Stage. In his youth given to Venerie, he thought,*' 
etc. 

There are two good reasons for such a change in 
punctuation: the first is that we have no play of Mars- 
ton's in which Jonson is represented as ** given to Ven- 
erie," unless we except a very improbable reference to 
him in the adventures of Monsieur John fo de King in 
Jack Drum J 1600; the second is the connection of 
what follows with the statement **In his youth given 
to Venerie," after which we may place a period, or a 
comma, without altering the general sense. ^ While we 
find no play of Marston' s to which the passage as punc- 
tuated by Laing can well apply, we do find in the char- 
acter of Chrisoganus in Histriomastix a representation of 
Jonson which might with good reason have been the 

^ Penniman, The War of the Theatres^ p. 40. 

^ Dr. Small's interpretation of the statement about "the use of 
a maide and the wantoness of a wyfe " as referring to " ones own 
wife" and representing a later opinion of Jonson, while possible, 
seems at variance with the context, in which Jonson proceeds to give 
a reason for his opinion that "the use of a maide " was nothing in 
comparison to the ** wantoness of a wyfe " by stating that for " two 
yeares " he had enjoyed another man's wife as his mistress, and this 
evidently "in his youth," when he was " given to venerie. " See 
Small, The Stage parrel, p. 4. 



xxvi 3Introi3uction 

cause of a quarrel between the two playwrights. Jon- 
son's statement, ** three years they did provoke me with 
their petulant stiles on every stage "* has commonly been 
connected with his personal quarrels with Marston on 
whom he wrote Poetaster. This has led critics to search, 
without success, for the representation of Jonson **on 
the stage," which was the ** beginning" of their per- 
sonal quarrels, in some play three years earlier than Poet- 
aster. As a matter of fact the two things do not nec- 
essarily coincide, for we find Jonson in his earliest plays. 
The Case is Altered and Ever^ Man in His Humour y at- 
tacking the use of absurd and unusual language and affected 
style with no reference to Marston, though he did attack 
Marston' s vocabulary incidentally in Ever-^ Man Out of 
His Humour i 599, and even mentioned Histriomastixhy 
name. Marston was, at first, simply one of those whose 
** petulant stiles " provoked Jonson, but, on account of 
personal quarrels, Jonson later in Poetaster not only at- 
tacked Marston and abo Dekker, but also made them 
representative of the whole class of ** lean witted poetas- 
ters." Words not found in Marston's works are ridi- 
culed by Jonson. Some of these are found in the writings 
^ of Gabriel Harvey, and Mr. Hart has shown conclu- 
sively, that Torqua^tus, whose *'new minted epithets," * 
**pommado reversa," ** curvetting sommerset," and 
** paradox in vertues name " 3 are ridiculed by Marston, 
was no other than Gabriel Harvey, whose quarrel with 

^ Apologetical Dialogue, Poetaster. 

2 Marston's Scourge of Villanie^ To Those that seeme Judiciall 
Perusers. 

' Scourge of Villanief Sat. «. 



3|ntroliuction xxvii 

Nashe was a matter of interest for many years. * Critics 
have hitherto thought that Torquatus was Jonson,^ or that 
he could not be identified as any individual and was merely 
a type-character. 3 In The Case is Altered^ Jonson ridi- 
culed Harvey as Juniper, and Nashe as Onion, as Mr. 
Hart has also shown, 4 the contest between Martino 
and Onion and the declining o'i a contest by Juniper 
being unmistakable allusions to the Martin Marprelate 
controversy. Jonson' s censorious attitude toward the 
writings of his contemporaries and his personal quarrels 
with them are so mixed up in his plays, and in the minds 
of critics, that they have failed to separate them. Jon- 
son, however, has done so in several passages and has 
shown that his theories concerning style and also dra- 
matic structure were wholly apart from merely personal 
differences. The Prologue to Every Man in His Humour y 
first printed in the 1616 folio, and written we know 
not when, containing his statement of objections to vio- 
lations of the unity of time, and the tendency to the spec- 
tacular and sensational in plays, is merely a re-statement 
of theories already advanced in the dedication of Whet- 
stone's Promos and Cassandra^ 1578, and Sidney's Apol- 
ogiefor Poetriey written as early as 1981, and also stated 
in A Warning for Fair Women^ 1599. The criticisms 
are quite applicable to several of Shakespeare's plays and 
equally applicable to a number of plays not by Shake- 

* H. C. Hart, Notes and ^enes^ Series 9, vol. xi, pp. 281, 343. 

* Penniman, The War of the Theatres, p. 3. 
' Small, The Stage Sluartel, p. 66. 

* H. C. Hart, Notes and S^uer'tes, Series 9, vol. xii, pp. 161, 162, 
263-265, 403-405- 



xxviii 31ntroDuction 

speare. ^ This was a purely literary not personal matter. 
In Cynthia^ s Revels y ii, 4, Cupid says (of Moria), **She 
is like one of your ignorant poetasters of the time, who, 
when they have got acquainted with a strange word, 
never rest till they have wrung it in though it loosen 
the whole fabric of their sense." This, too, is a purely 
literary criticism, though Jonson's lofty contempt for 
poets who used absurd language is clearly shown. The 
same opinions are found expressed in Love'* s Labour *s 
Lost, Patient Grissel, the old Timon, and the second 
and third parts of the Parnassus trilogy. 

In Poetaster Jonson has combined personalities with 
literary criticism. His objection to ** petulant stiles " is 
clearly set forth, while Dekker's reply, Satiromastix, 
concerns itself wholly with personalities and contains 
no genuine literary criticism. A little while after the 
wnimgo^ Satiromastix wt find Marston and Jonson on 
friendly terms and Jonson and Dekker collaborating as 
they had done before. 

After this general consideration of what is for the 
most part to be regarded as direct evidence concerning 
the principals and their plays in the stage war, we come 
to our last source of information, the inferences to be 
drawn from statements in the plays themselves as to the 
identity of the persons represented. 

Many plays of the Elizabethan period contained per- 
sonal satire; but we are limited in our investigation to the 
period stated by Jonson as ** three years " prior to Poet- 
aster, and to plays by the dramatists whom we know 
to have been participants in the ** war." We know that 
* Sec Penniman, The War of the Theatres, pp. 15, 16. 



3|ntroUuctton 



XXIX 



Jonson, Marston, and Dekker wrote plays involved, that 
Dekker was ** hired" by Jonson's enemies, who in- 
cluded **sonie better natures," and that Shakespeare 
gave Jonson a ** purge " in return for Poetaster. What 



TABLE I 



Title of Work 


Date 


Author 


Theatre 


Company 


The Scourge of Vil- 
lanie 


1598 


Marston 


— 




The Case is Altered 


1598 


Jonson 


Blackfriars 


Chapel Children 


Every Man in His 


1598 


Jonson 


Curtain 


Chamberlain's 


Humour 


Paul's? 


Children of Paul's? 


Histriomastix 


1599 


Marston 


Curtain ? 


Derby's ? 


Every Man Out of 
His Humour 


1599 


Jonson 
Dekker 


Globe 


Chamberlain's 


Patient Grissel 


1600 


Chettle 
Hajjghton 


Rose 


Admiral's 


Cynthia's Revels 


1600 


Jonson 


Blackfriars 


Chapel Children 


Antonio and Mellida 


1600 


Marston 


Paul's 


Children of Paul's 


Jack Drum's Enter- 
ment 


1600 


Marston 


Paul's 


Children of Paul's 


Antonio's Revenge 


1600 


Marston 


Paul's 


Children of Paul' 3 


What You WiU 


1 60 1 


Marston 


Paul's 


Children of Paul's? 


Poetaster 


i6oi 


Jonson 


Blackfriars 
Globe 


Chapel Children 
Chamberlain's 


Satiromastix 


i6oi 


Dekker 


Paul's, 

privately 
Globe 


Children of Paul's 


Troilus and Cressida 


i6oi? 


Shakespeare 


Chamberlain's 








At St. 




The Return from 


1601 




John'sCol- 
lege, Cam.- 




Parnassus 


-oz 


? 


University Playeri 




I60I 

-02 




bridge 




TheSpanishTragedy 


Jonson&Kyd 


Fortune 


Admiral's 



XXX introduction 

that ** purge" was we do not know, though there 
have been several conjectures. As the ♦* war** involved 
both literary criticisms and personalities we have included 
Marston's Scourge of Villanie as concerned with the 
ridicule of affected language, and also the attack on 
Gabriel Harvey, in which Jonson evidently joined. A 
statement of the works to be examined and the pro- 
bable order in which they were presented is given in 
Table I. 

We have already referred to the identification, by Mr. 
Hart, ofTorquatus in The Scourge of Villanie y and Juni- 
per in The Case is Altered^ with Gabriel Harvey, and 
Onion with Thomas Nashe. The quarrel between these 
two men and especially Harvey *s censorious attitude to- 
wards others were hkely objects of satire. Nashe, in Len- 
ten Stuffey I 599, speaks of **the merry cobblers cutte 
in that witty play of the case is altered.** Valentine in 
the same play is the forerunner of Asper in Ever-^ Man 
Out of His Humour and Crites in Cynthia* s Revels. They 
express similar views, and arc characters through whom 
Jonson spoke directly. The reasons for these identifica- 
tions are cumulative and apparently conclusive. ' Among 
the most important is perhaps the ridicule of language 
which is certainly to be found in the works of Harvey. 
This censure of absurd words and forms of expression 
is found in all of Jonson*s early comedies and, with 
growing impatience at the continued use of them, 
reaches its climax in connection with a personal quarrel 

' H. C. Hart, Notes and ^eries^ Series 9, vol. xi, p. 344, 
xil, p. 342. 



3llntroliuction xxxi 

in Poetaster. Words used by Harvey and ridiculed by 
jonson are found in The Case is Altered, Every Man 
in His Humour t Every Man Out of His Humour , Cyn- 
thia* s Revels and Poetaster. Jonson's arrogant and in- 
tolerant spirit became more noticeable in each succes- 
sive play, and aroused ever-increasing antagonism. His 
attack on * * players, ' ' v^hom he admitted having * * taxed ' ' 
in Poetaster t begins in the opening scene of The Case 
is Altered t i 598, in which Antonio Balladino ** pageant / 
poet to the city of Milan," **in print already for the ' 
best plotter," is Anthony Monday, referred to by Meres 
in Palladis Tamia, 1598, as ** Anthony Mundye, our 
best plotter." This scene has little connection with the 
rest of the play and may be a later addition or altera- 
tion. Monday was pageant poet of London from 1605 
to 1623, and although the pageants for 1592 to 1604 
are missing, it is generally accepted as a fact that he 
wrote them.' This passage in Jonson's play may be con- 
firmatory evidence that he did. Jonson again attacks , 
Monday in Every Man in His Humour y i 598, *'moTC{J 
penury of wit than either the Hall Beadle or Poet Nun- 
tius." We know that Monday was messenger (Nun- 
tius) of Her Majesty's chambers.* Facts of great im- 
portance in connection with Every Man in His Humour 
are, that it was performed in i 598 by the Chamberlain's 
Company, and that Shakespeare was oneof the actors, as 
we are informed by the list given in the folio. The play 
contains in the character of Matheo, the ** Town Gull," 
the first of a series of attacks by Jonson on Samuel Daniel, 

' Penniman, The War of the Theatres, p. 38. 
' SmaU, The Stage parrel, p. 177, 



xxxii 3Incrot)uction 

the court poet ' whose popularity is attested by the 
praise of many or his contemporaries. We have Jonson 
thus attacking the city poet Monday and the court poet 
Daniel, of both of whom he was evidently jealous, on 
account of their preferment, and both of whom he con- 
demned for inferior poetry. 

It is in the quarto of Every Man in His Humour that 
the attack on Daniel is made most vigorously. The play 
was rewritten and changed considerably so that the folio 
gives English instead of Italian names to the characters, 
and omits or alters many passages. Jonson's relations 
with Daniel continued through a long period and seem 
to have been at all times hostile. He referred to Daniel 
four times in talking with Drummond, 1 6 1 9, and always 
unfavorably. 

**Said he had written a Discourse of Poesie both against 
J Campion and Daniel, especially this last." ^ 

** Samuel Daniel was a good honest man, had no chil- 
dren; but no poet." 3 

** Daniel was at jealousies with him." 4 

** Daniel wrott Civill Warres, and yett hath not one 
battle in all his book." s 

Professor Schellinghas treated in some detail this con- 
tinued rivalry of Jonson and Daniel, and has discussed 

* Penniman, The War of the Theatres, p. 24. 

' y orison's Coti'versations ivith Drummond^ ed. Laing, p. i. 
^ Ibid. p. 2. 

* Ibid. p. 10. Laing has this note. "Jonson says (in a letter 
to the Countess of Rutland) that Daniel envied him though he bore 
no ill will on his part." The relations of the two men were evi- 
dently well-known. 

* Ibid. p. 16. 



3|ntroDuction xxxiii 

not only the satirizing of Daniel by Jonson in 1598 
but also the subsequent opposition of the two poets in 
the entertainments, panegyrics and masques on the ac- 
cession of James, and in the pastoral drama a few years 
later. * The earliest attack on Daniel as Matheo consists 
in general ridicule of his poetry and includes the charge 
of plagiarism, a charge repeated directly in The Return V 
from Parnassus y part second, 1601-02 where ** Sweete 
hony dropping Daniell" is advised to **more sparingly 
make use of others wit, and use his owne the more." * 
In The Return from Parnassus^ part first, is a character 
GulHo, similar to Jonson's Matheo, the ** Town Gull,'* 
and his quotation of verses from other poets, which 
he claims as his own, alluded to in the second part of 
the play in lines just quoted, is parallel to Matheo's.J 
The charge of plagiarism is made directly, and Ingenioso 
remarks ** I think he will run through a whole booke 
of Samuell Daniells! " Gullio talks of his clothes and of 
his friends among the Countesses and other court ladies. 
With the challenge of Matthew ** at extempore" in v,5; 
compare the ** extempore" of Gullio (iv, i. 1 146-9); 
with Matheo* s praiseof a hanger (i. 5.) compare Gul- 
lio's mention of his rapier (3.1.); with Matheo's 
(quarto) ** invention" (v, i . quarto) compare Gullio' s 
"invention" (in, i. 1043 and iv, i. 11 55). 

Gullio is an Oxford man, as was Daniel, and had 
lately had an epigram made on him by **a Cambridge 

' Schelling, Elizabethan Drama,vo\. i, p. 478, vol. il, pp. lOI, 
iio-i 1 1, 156. 

* Parnassus J ed. W. D. Macray, p. 85. 

^ Penniman, The War of the Theatres^ p. 25. 



xxxiv 31ntroDuction 

man, one weaver fellow I warrant him, els coulde he never 
have had such a quick sight into my vertues; however, 
I merit his praise; if I meet with him I will vouchsafe 
to give him my condigne thanks." ^ 

Reference is made here to John Weever's Epigram on 
Daniel published in 1599 — 

The Sixt Wecke, Epig. 10. M Samuefem Daniel. 
Daniel, thou in tragicke note excells, 
As Rosamond and Cleopatra tells : 
Why dost thou not in a drawne bloudy line, 
Offer up tears at Ferdinandoes shrine ? 
But those that e're he di'de bewitcht him then. 
Belike bewitcheth now each Poet's pen." 

It is of this praise that Gullio speaks. Although there 
is among Weever's Epigrams one (referred to by Mr. 
Macray in his note). The Second Weeke, Epig 21 In 
obitum sepulcrum Gullionis,^ it refers to a ** fat Gullio," 

» Parnassus, cd. W. D. Macray, p. 56. 

2 Epigrammes | in the oldest cut, and | newest fashion. | A [ 
twise seven houres (in so many | weeks) studie | No longer (like 
the fashion) not un | like to continue. | The first seven. | John 
Weever. | Sit -voluisse, sat 'valuisse. \ At London | Printed by V. 
S. for Thomas Bushell, and are to be | sold at his shop at the 
great north doore | of Paulcs 1599. | 

John Weever's book is extremely rare, perhaps the only copy 
being in the Malone library in the Bodleian. 

3 The Second Weeke, Epig 21. /« obitum sepulcrum Gullionis. 

Here lies fat Gullio, who caperd in a cord 

To highest heav'n for all his huge great weight, 

His friends left at Tiburne in the yere of our Lord 

I — 5 — 9 — and 8 
What part of his body French men did not eate. 
That part he gives freely to worms for their meat. 
Weever's Epigrams contain two passages of interest in conncc- 



3|ntroDuction xxxv 

evidently a FrencKman, hanged at Tiburn in i 598, and 
could not possibly have any reference to Daniel, though 
the name ** Gulho," a not uncommon term, is the same 
as that given to Daniel in the play. It may refer to the 
Burgundian fencer hanged at Tiburn in 1598. 

Daniel's close connection v^ith the court and his 
great popularity, both of which were causes of jealousy 
to Jonson, are clearly set forth by **W. C," * the 
author of Polimanteiuy 1595, in which, among criti- 
cisms of * * Sweet Shakespeare, " ' * eloquent Gaveston ' ' 
Spenser and others, is this significant passage: — 

**Let other countries (sweet Cambridge) envie (yet 

tion with what Dekker termed the ** Poetomachia." In the intro- 
ductory verses is a reference to Marston's line in the opening poem 
of The Scourge of Villanie^ 1598, "To Detraction I present my 
Pocsic," and also an allusion to the relations of poets of the time. 
Must I thus cast in Envies teeth defiance ? 
Or dedicate my poems to detraction ? 
Or must I scorne Castilioe's neere alliance ? 
Nay, must I praise this Poet-pleasing faction ; 
Lest in the Presse my overthrowe they threaten; 
And of the Binders laugh to see me beaten. 
The other passage is Epigram 1 1 of the Sixth Week, which 
immediately follows the one on Daniel. 

The Sixt Wecke, Epig. II. Ad Jo. Mars{on,znd Ben: Johnson. 
Marston, thy muse enharbours Horace Vaine, 
Then some Augustus give thee Horace merit, 
And thine embuskin'd Johnson doth retaine 
So rich a stile, and wondrous gallant spirit ; 
That if to praise your Muses I desired, 
My Muse would muse. Such wittes must be admired. 

Whatever its significance, this is an interesting coupling of Mars- 
ton's and Jonson's names in 1599. 
» Probably William Covcll. 



/ 



xxxvi 3introJ)uction 

admire) my Virgil, thy Petrarch, divine Spenser. And 
unlesse I erre (a thing easie in such simplicitie) deluded 
by dearUe beloved Deliay and tbrtunatelie fortunate Cleo- 
patra; Oxford thou maist extoll thy court-deare-verse 
happie Daniell, whose svveete refined muse, in con- 
tracted shape, were sufficient amongst men, to gaine 
pardon of the sinne to Rosamond, pittie to distressed 
Cleopatra, and everliving praise to her loving Delia:' 
Gullio is a caricature, therefore, of an important per- 
son, and almost everything said of him or by him has 
some reference to Daniel. Gullio' s sonnets and letters 
to ladies, his being "likened to Sir Philip Sidney . . . 
his Arcadia was prettie, soe are my sonnets " all agree 
with what we know of Daniel, who was under the spe- 
cial patronage of the Pembroke family, tutor to the son 
of Sir William Herbert, and also to Anne daughter of 
Margaret Countess of Cumberland (about 1598 ?), as 
we learn from his tombstone erected by her in gratitude 
to him in 161 9.' 

' Epitaph of Daniel in Beckington Church, Sonnersetshire, pub. 
p. 34. Selectiom from Darners TForks by Mr. John Morris of 

Bath 1855. . r ^ T J J 

*' Here lyes, expectinge the second comming of Our Lord and 
Saviour Jesus Christ, ye Dead Body of Samuell Danyell Esq., that 
Excellent Poett and Historian who was Tutor to the Lady Anne 
Clifford in her youth; she that was sole Daughter and heire to 
George Clifford,' Earl of Cumberland, who in Gratitude to him 
erected this Monument in his memory a long time after, when she 
was Countesse Dowager of Pembroke, Dorsett, and Montgomery. 
He dved in October, 1619." 

In' 1 603 in publishing A Panegyricke Congratulatorie to James I 
Daniel bound up with many copies of it a number of ** Poeticall 
Epistles " to his titled friends, Sir Thomas Egerton, Lord Henry 



31ntroDttction xxxvii 

In I 59 1 , at the end of Sidney's Astrophel and Stella 
twenty-seven of Daniel's sonnets were published with- 
out permission, and in what Daniel complained of as 
an uncorrected form. Thomas Nashe was probably re- 
sponsible for this book. 

The identification of GuUio with Daniel fixes the 
identity of several other precisely similar characters in 
plays concerned with Jonson's quarrels. Gullio the 
Court Gull and Matheo the Town Gull are obviously 
the same person. Dr. Small, and Dr. Mallorywho fol- 
lowed him,^ missed one of the most important features 
of the war of the theatres by failure to recognize Daniel 
in any of the characters, and by the mistaken notion that 
Daniel was not at all this kind of man, in spite of such 
evidence. While the affected courtier, the court gull, 
and the town gull were undoubtedly types, the particu- 
lar examples of them found in the characters of Gullio 
and Matheo as we have seen, and in Fastidious Brisk in 
Every Man Out of His Humour^ Hedon in Cynthia^ s 
Revels and Emulo in Patient Grissil, as we shall see, 
were also probably Daniel.* 

Fastidious Brisk, in Every Man Out of His Humour, 
Jonson's second representative of the court gull, is too 

Howard, the Countess of Cumberland, the Countess of Bedford, 
Lady Anne Clifford, the Earl of Southampton. 

* Small, The Stage parrel, pp. 181-197. Mallory, Poetaster^ 
p. xxiv. 

' H. C. Hart writes " Penniman insists [in The War of the 
Theatres'\ that Fastidious represents Daniel, and GuUio's remarks 
(Macray, p. 57) [The Returne from Parnassas, Part I] support 
this." " Gullio settles Brisk' s identity with Daniel," Works of Ben 
yonson, I, pp. xivi, xlvii. 



xxxviii ^Introduction 

much like Gullio for the resemblance to be accidental. 
Each boasts of his clothes and wears his mistress* garter 
as a favour. Each praises the Arcadia. Gullio sends a 
note to his noble mistress to whom he had referred, but 
she on receiving it denies knowing him and resents his 
impudence. When Brisk makes boasts concerning noble 
friends similar to Gullio* s. Carlo Buffone remarks, 
** There's ne'er a one of these but might lie a week on 
the rack ere they could bring forth his [Brisk* s] name." 
Gullio quotes, as his own, lines of Shakespeare, and ** will 
runne through a whole booke of Samuell DanielFs.*' 
He refers to Cleopatra, the subject of Daniel's play. 
Brisk ** speaks good remnants,*' and uses expressions 
taken from Daniel's Rosamond.'^ He plays upon the 
bass viol and uses tobacco. Gullio is a musician, playing 
on the lute, and bestowes **more smoke on the world 
with the draught of a pipe of tobacco than proceeds from 
thechimnie of a solitarie hall*' (in, i). 

Hedon, in Cynthia' s ^^f^/i, }onson's third represen- 
tation of Daniel, resembles Gullio, Matheo, and Brisk, 
in many ways. Daniel is mentioned by name, or the 
titles of some of his works are quoted, or lines from his 
poems are quoted by or in connection with every one 
of these four characters, all of whom are court gulls.* 

Hedon keeps ** abarberand a monkey," Gullio writes 

» Penniman, The War of the Theatres^ p. 52. Hart, The Works 
of Ben yonson, i, xlvi. 

^ Professor Baskervill (English Elements in Jonsons Early 
Comedy^ Univ. of Texas, Studies in English, 191 1, p. 120) em- 
phasizes the conventionality of Jonson's type characters, and is 
inclined to doubt that any of them were intended for particular 
individuals. 



3|ntroDuction xxxix 

'* an epitaph on a monkey.*' Hedon's fine clothes and 
bedding are referred to. Gullio says ** I am never seene 
at courte twise in one sute of apparell. ... As for 
bands, stockings, and handkerchiefs, mynehostes, where 
my trunkes lye, nere the courte hath inoughe to make her 
sheets for her householde." 

Hedon ** loves to have a fencer, a pedant, and a 
musician seen in his lodgings a-mornings." Gullio 
refers to a duel he fought, and says ** Give mee a new- 
knight of them ail, in fencing school, att a Nimbrocadc 
or at a Stoccado. ... I am saluted everye morningc by 
the name of Good Morrow, Captaine, my sworde is 
at youre service."' 

Gullio says, of Sir Philip Sidney, *'he loved a 
schoUer, I maintaine them." ** I maintaine other po- 
etical spirits that live upon my trenchers." Daniel\ 
special relations with Sidney have already been men- 
tioned.^ Hedon ** is a rhymer, and that's thought better 
than a poet." He is ** Spoke to for some " verses, and 
he speaks a little Italian (v, 4). Gullio ** will bestowe 
upon them the precious stons of my witt, a diamond of 
my invention," but ♦' will have thee, Ingenioso, to make 
them and when thou hast done I will peruse pollish and 
correcte them" (iii, i). *< It is my custome in my 
common talke to make use of my readinge in the Greeke, 
Latin, French, Italian, Spanishe poetts, and to adorne my 
oratorye with some prettie choice extraordinarie say- 
inges " (iv, i). Hedon **is thought a very necessary 
perfume for the presence, six milliners shops afford not 
the like scent " (11, i). Gullio ** had a muske jerkin lay de 
* See above, p. xxxvi. 



xl 3|ntroliuction 

all with gold lace, and the rest of my furniture answerable, 
pretty slightie apparell, stood mee not paste twoo hun- 
dred pounds " (ill, I ). Hedon sings ** The Kiss '* and 
says ** I made this ditty and the note to it, upon a kiss 
that my Honour gave me'* (iv, 3). Gullio says that 
he often ** sunge many sonnets under her windowe to 
a consorte of musicke. I myselfe playinge upon my 
ivori; ii'L ' . oSi. enchantinglie " (v, i ). Hedon con- 
Vstant'V I'-oasts oi having kissed the hand of a countess, 
^.^uiio • liv t 'iic countess "( IV, 1). The evidence af- 
forded Dy Uiwoe similarities is cumulative, and the attack 
on Diniel, with whom we know from other sources Jon- 
son w^s continually at odds,^ is one of the most important 
features of his comedies. The men differed radically in 
their literary ideas, and their personal interests clashed, 
as they were rivals for court preferment, which Daniel 
had and Jonson wanted. 

It seems altogether probable that Emulo in Patient 
Grissel (i 599-1 600), by Dekker, Chettle, and 
Haughton, is another attack on Daniel, for the charac- 
ter is that of a silly courtier like Brisk, and he is indeed 
called a ,** brisk spangled baby," a possible play on the 
namc.l The duel between Emulo and Owen, described 
in III, 2, is similar to that of Brisk and Luculento in 
Every Man Out of His Humour (iv, 6 ), and both were 
about a woman. It cannot possibly refer to Jonson' s 
duel in which he killed Gabriel Spenser, though that 
has been suggested. ^ 

Emulo will **pull out a bundle of sonnets written 

* See above, p. xxxii. 

* The North British Review, July, 1870, p. 402. 



3|ntroliu(tion xii 

and read them to ladies" (ii, i). The duel, and the 
sonnets, evidently have reference to some actual person, 
and the similarity of the character to Brisk suggests 
Daniel. If Emulo was intended for Daniel, we have in 
Patient Grisseiy of which Dekker evidently wrote a 
considerable part, the first play by that author con- 
cerned in the stage war, though Mr. Fleay has said that 
in his opinion The Shoemakers Holiday and Old Fortu- 
natus also contain personal satire connected with Jonson's 
quarrels.' The evidence seems, however, insufficient. 
Of course we know SatiromastiXy the reply to Poetaster, 
was by Dekker. No attack on Jonson is to be found 
in any other play by Dekker, and in Patient Grissel 
( I 599—1600), we find Dekker apparently joining with 
Jonson in the attack on Daniel, whom others praised in 
the highest terms. We learn from Henslowe^ s Diary that 
Dekker was collaborating with Jonson at the very time 
at which Patient Grissel vf2i% being written. ^ ;v. 

That there were jealousies of long standing and 
openly shown among the poets of this time is indicated 
in a passage, hitherto unnoticed in this connection, in 
Thomas Lodge's Wits Miser ley 1596, in which he 
speaks of Jealousy as one of the ** Devils Incarnat." 

* Fleay, Shakespeare Manual^ p. 277. 
"ij^fi * i/er/i/o-zfe'i £)/ar)', Shakespeare Society publications, p. T55. 
Payment to Jonson and Dekker jointly, Aug. 10, 1599, p. 156. 
Payment to Jonson, Chettle, Dekker, and *' other Jentellman," 
Sept. 3, 1599. The plays were pagge of plimothe and Robart the 
second^ Kinge of Scones tragedie. Payments for Patient Grissel 
were made Oct. 16, Dec. 19, 26, 28, 29, 1599. On March 18, 
1599 (Old Style), Henslowe paid forty shillings to stop the printing 
of the play, p. 167. Henslowe i Diary ^ ed. W.W. Greg, 1904, 
vol. I, pp. 1 10, III, 119.. 



xiii 3|ntroDuction 

**Let him [Jealousy] spie a man of wit in a Tav- 
erne, he is an arrant dronckard; or but heare that he 
parted a fray, he is a harebrained quarreler: Let a 
scholler write. Tush (saith he) 1 like not these com- 
mon fellowes; let him write well, he hath stollen it 
out of some note booke; let him translate, Tut, it is not 
of his owne; let him be named for preferment, he is 
insufficient because poore; no man shall rise in his 
world, except to feed his envy; no man can continue 
in his friendship, who hateth all men. Divine wits, 
for many things as sufficient as all antiquity (I speake it 
not on slight surmise, but considerate judgment) to you 
belongs the death that doth nourish this poison; to you 
the paine, that endure the reproofe. Lilly the famous 
for facility in discourse; Spencer, but read in ancient 
Poetry; Daniel, choice in word, and invention; Draiton, 
diligent and formall; Th Nash, true English Aretine. 
All you unnamed professours, or friends of Poetry (but 
by me inwardly honoured) knit your industries in pri- 
vate, to unite your fames in publike; let the strong stay 
up the weake, and the weake march under conduct of 
the strong; and all so imbattell your selves, that hate 
of virtue may not imbase you. But if besotted with 
foolish vain-glory, emulation and contempt, you fall to 
neglect one another, ^od Deus omen avertaty Doubt- 
less it will be as infamous a thing shortly, to present 
any book whatsoever learned to any Maecenas in Eng- 
land, as it is to be headsman in any free citie in Ger- 
manic. " ^ 

* ?nts Miserie, and the Worldei Madnesse ; Disco'vering the 
Devils Incarnat of thii Age, 1596, Hunterian Club reprint, pp. 
56, 57. 



JlntroUuction xliii 

This passage may be merely a statement concerning 
jealous persons in general, but in the light of what we 
know of Elizabethan times, and particularly of the per- 
sonal relations of the poets, it seems likely that Lodge 
had in mind in this, as well as in other parts of Wtts 
M/j^r/>, certain individuals. The date i 596 is perhaps 
early for any reference to Jonson, but it is interesting 
to see how similar the character of jealousy, as Lodge 
describes it, is to the character of Horace (Jonson) in 
Satiromastix. Daniel, for whom Lodge expresses ad- 
miration, here and elsewhere, was later, if not in i 596, 
Jonson's rival and ^oq. 

Wits MiseriCy with its satirical characterizations of 
the ** Devils Incarnat'* of the age, suggests Jonson* s 
early comedies, in which several of the very ** Devils '* 
described by Lodge are made to play important parts; 
such, for example, as ** Detraction," who appears as 
Carlo Buffone in Every Man Out of His Humour y and 
Anaides in Cynthia's Revelsy ** Lying" who appears 
as Puntarvolo in Every Man Out of His Humour , and 
Amorphus in Cynthia'* s Revels as well as Bobadil in 
Every Man in His Humour, Shift in Every Man Out of 
His Humour and Tucca in Poetaster. Other of Lodge's 
'* Devils " may be found in Jonson's plays. Sometimes 
the same ** Devil" appears in several characters and 
sometimes several ** Devils" inhabit the same charac- 
ter. A comparison of the following passages from IVits 
Miserie with Jonson's early comedies, and particularly 
with the descriptions, prefixed to Every Man Out of 
His Humour^ will show a close connection between 
the ideas of Lodge and those of Jonson. 



xiiv 3|ntroDttction 

** But soft who comes here with a leane face, and 
hollow eies, biting in his lips for feare his tongue 
should leape out of his mouth, studying over the 
revertions of an ordinarie, how to play the ape of his 
age ? — It is Derision." 

Scandale and Detraction — **if he walks Poules, he 
sculks in the back isles and of all things loveth no soci- 
eties — backbite his neighbor — worke mischief. He 
hath been a long Traveller and seen manie countries, 
but as it is said of the toad, that he sucketh up the cor- 
rupt humors of the garden where hee keepeth ; so this 
wretch from al those Provinces he hath visited, bringeth 
home nothing but the corruptions.'* 

Adulation, **who goes generally jetting in noble- 
men's cast aparrell, he hath all the sonnets and wan- 
ton rimes the world of our wit can affoord him, he can 
dance, leape, sing, drink up se-Frise, attend his friend 
to a baudie house . . . serve him in any villanie: 
If he meets with a wealthy young heire worth the 
clawing. Oh rare, cries he, doe hee never so filthily, 
he puis feathers from his cloakc, if hee walk in the 
street, kisseth his hand with a courtesie at every nod 
of the yonker, bringing him into a fooles Paradise by 
applauding him. If he be a martiall man or imployed 
in some courtly tilt or Tourney, marke my Lord 
(quoth he) with how good a grace hee sat his horse, 
how bravelie hee brake his launce: If hee bee a little 
bookish, let him write but the commendation of a flea, 
straight begs he the coppie, kissing, hugging, grinning 
and smiling, till hee make the yong Princocks as 
proud as a Pecocke. This Damocles amongst the 



Iflntrotiuction xlv 

retinue carries alwaies the Tabacco pipe and his best 
living is carrying tidings from one gentlemans house to 
another." 

** Who is this with the Spanish hat, the Italian 
ruiFe, the French doublet, the Muffes cloak, the Toledo 
rapier, the German hose, the English stocking, and 
the Flemish shoe ? Forsooth a son of Mammon's that 
hath of long time been a travailer, his name is Lying, a 
Devill at your commandment: . . . Tell him of bat- 
tels, it was hee that first puld off Francis the first his 
spur, when hee was taken up by the Emperor, and in the 
battell of Lepanto he onely gave Don John de Austria 
incouragement to charge afresh after the wind turned; at 
Bullaine he thrust three Switzers thorow the bellie at 
one time with one Partizan and was at the hanging of 
that fellow that could drinke up a whole barrell of beere 
without a breathing. ..." 

Of Contempt Lodge says '* The wisest man is a foole 
in his tongue and there is no Philosophic (saith he) but 
in my method and carriage. . . . To the cobler he 
saith, set me two semicircles on my Suppeditaries; and 
hee answeres him, his shoes shall cost him twopence." 

'* Sien of my Science in the Catadupe of my knowl- 
edge, I nourish the crocodile of thy conceit." 

The last quotation reminds us of a passage in Every 
Man in His Humour (quarto) in which Clement is made 
to say 

" No ; weele come a steppe or two lower then [in style] — 
From Catadupa and the bankes of Nile 
Where onely breedes your monstrous crocodile, 
Now are we purpos'd for to fetch our style." 



xivi 3|ntroliuction 

As Lodge appears in Jonson's characters of Fun- 
goso in Every Man Out of His Humour and Asotus in 
Cynthia* s Revels y^ his praise of Daniel and of other poets 
who were the objects of jealousy, and his strong satire of 
'* Incarnat Devils " of the time, many of whom he found 
in his contemporaries, are very interesting in connection 
with the stage war which began two years later. 

The first play of Marston's which we are able to 
connect with the stage war is HistriomastiXy 1599. 
This play, as we have it, is not in its original form, 
but is clearly a revision by Marston of an earlier play.* 
In those parts for which Marston is responsible we find 
him following Jonson in attacking, as Posthaste, An- 
thony Monday, who had appeared as Antonio Balla- 
dino in The Case is Alteredy and had been referred to 
as Poet Nuntius in the quarto form of Every Man in 
His Humour. We do not know of any previous attack 
by Monday on either Jonson or Marston, but Monday's 
position as city pageant-poet, and the relations of the 
several theatrical companies as they appear in Histrio- 
mastix appear to have much to do with the hostility to 
him. 3 

* Mr. H. C. Hart writes, •* Pennlman's identification [in The 
War of the Theatres] of Asotus with Lodge is quite convincing, 
and further proof has been given above." Ben Jonsoity 11, p. xi. 
'* Penniman makes out a clear case that Fungoso represents 
Lodge. Fungoso's identity with Asotus in the following play makes 
this plainer." Ibid.y i, p. xlvii. 

" Penniman, The War of the Theatres, p 3 1 ; Small, The Stage 
parrel, p. 67. 

3 See Children of the Chapel at Blackfriars, C. W. Wallace, 
Uni'versity [of Nebraska] Studies, vol. viii, Nos. 2 and 3, pp. 
161-172, for a discussion of the relations of the companies. 



3|ntroDuction xlvii 

The reasons for the identification of Posthaste with 
Monday, and Chrisoganus with Jonson, are not abso- 
lutely conclusive because there are in Histriomastix no 
allusions in connection with either character which 
might not be true of some one else besides Jonson or 
Monday, but, taken all together, they justify us in making 
these identifications. 

The general character of Chrisoganus, the Scholar- 
Poet, with his high ideals, impatience at attempts to. 
attract the multitude by unworthy plays, self-importance,*'^ 
censorious attitude, poverty, and work as a translator, 
satirist and writer of epigrams, is all suggestive of 
Jonson. The fact that he is said to ** carry just Ram- 
nusia*s whippe " at once suggests Marston who began 
his Scourge of Villanie **I beare the scourge of just 
Ramnusia.*' The allusion, however, is classical and ap- 
plicable to any critic or satirist who ventures to deter- 
mine fates as did Nemesis, whose famous statue was at 
Rhamnus, whence the name ** Rhamnusia Virgo" or 
**Dea" or simply ** Rhamnusia." Chrisoganus was 
a satirist, a name applied to Jonson, almost directly, 
by the title of Dekker's Saiiromastix. ** Translating 
scholler ' ' is also peculiarly applicable to Jonson of whom 
Drummond later (1619) said *• but above all he ex- 
celleth in a translation." We know that he prided him- 
self on his ability in this regard, and his Poetaster is made 
up in part of translations and borrowings from Horace, ' 
Ovid, Virgil, Homer and Lucian. The address of Chris- 
oganus to Posthaste and his players is a repetition of 
charges made by Jonson against Antonio Balladino in 
The Case is Alter ed^^xidi the tone of all passages which 



xlviii 3|ntroliuction 

do not belong to the Chrisoganus of the earlier form of 
the play is precisely that of Jonson. ** Sir Oliver Owlet's 
Men," the company by whom Posthaste had been em- 
ployed and Chrisoganus rejected, were probably Pem- 
broke's Company who were forced to travel having been 
driven from the Curtain theatre by Derby's Company.^ 
They may, however, represent simply players in gen- 
eral, as Dr. Small suggests.^ 

The opinion that Posthaste was intended for Shake- 
speare and that therefore ** Sir Oliver Owlet's men" 
were the Chamberlains Company was advanced by Simp- 
son 3 and advocated by Professor Henry Wood? 4 The 
character does not agree at all with what we know of 
Shakespeare but does agree with what we know of An- 
thony Monday. 

It is altogether likely that a particul?r theatrical com- 
pany is attacked in HistriomastiXy for Jonson* s words 
** three years they did provoke me . . . on every stage," 
and the definite references in Poetaster to rivalries between 
companies, clearly indicate that not only were individ- 
ual poets concerned in the war, but companies as well, 
whose plays were necessarily attacked by any attack on 
their authors. 

We have in Chrisoganus Marston's first representation 
of Jonson. Though the vocabulary of Histriomastix is 
ridiculed in Every Man Out of His Humour ^ i 5 99, it does 

* Fleay, Chronicle of the English Drama, li, pp. 70, 71 ; Penni- 
man, The War of the Theatres, p. 42. 

=* Small, The Stage l^arrel, p. 88. 

^ Simpson, The School of Shakspere, il, p. II. 

* Wood, ** Shakespeare burlesqued by fwo Fellow Dramatists,** 
Am. Jour. Philol. xvi, 3. 



y 



3IntroDuttion xHx 

not necessarily mean that Marston intended Chrisoganus 
as an attack on Jonson. The character is commended 
for high ideals and unwillingness to cater to low taste. 
We do not know that Histriomastix was the cause of 
hostility between Jonson and Marston, whose names 
Weever joined in praise in the same epigram in 1599.* 
We have referred to Jonson' s mention of Histriomas- 
tix in Every Man Out of his Humour, in a passage in 
which Clove and Orange talk ** fustian,'* and have dis- 
cussed Aubrey's identification of Carlo Buffone with 
Charles Chester, and GifFord's opinion that Carlo was 
Marston. We have shown that Fastidious Brisk was 
Samuel Daniel. Asper, \vt know from Dekker's state- 
ment, was Jonson, and ** leane Macilente," the char- 
acter in the play taken by Asper, who appears only in 
the Induction, was likewise in many respects Jonson the 
**leane hollow cheekt-scrag " of Satiromastix. He is 
** a scholar and traveller." His shabby clothes are re- 
ferred to and his excellent qualities. He is the cen- 
surer who puts out of his humour each of the other 
characters. The final speech of MaciJente is character- 
istic of Jonson. Of the other characters in the play we 
are able to identify Fungoso as almost certainly Thomas 
Lodge. He is obviously the same character as Asotus 
who appears in Cynthia" s Revels 1600 and is called 
** some idle Fungoso," IV, 3. The evidence for this identi- 
fication is cumulative. The identity of Fungoso and 
Asotus causes us to put together the evidence concern- / 
ing them derived from the two plays. Fungoso is a 
gentleman; studies, but abandons, law; is a spendthrift; 
' See above, p. xxxv, note. 



1 ^Introduction 

dunned for bills by his tailor; is an imitator and admirer 
of Fastidious Brisk and Puntarvolo. He is the heir of 
Sordid o and ** endeavors to wring sufficient means from 
his wretched father. ' * Asotus is * ' a citizen' s heir, Asotus 
or the Prodigal." Reference is made to his father who 
bestowed buckets ** on his parish church in his lifetime,'* 
was a benefactor of **some hospital," had painted 
** posts against he should have been praetor." Asotus 
is false to Argurion his ** father's love." Mercury re- 
marks of Asotus, ** Well J doubt all the physic he has 
will scarce recover her, she is too far spent." Asotus 
is the friend of Amorphus, who is the same character as 
Puntarvolo, godfather of Fungoso. Asotus imitated Amor- 
phus as Fungoso imitated Puntarvolo. The fact that Aso- 
tus was a spendthrift and could not recover Argurion 
by **all his Physic" is a reference to Thomas Lodge's 
having studied medicine and received the degree. Doctor 
of Physic, at Avignon in 1600, the year of Cynthia's 
Revels. Lodge placed his title ** Doctor of Physic " on 
his later books, while on his earlier books we find him, 
like Fungoso the lawyer, describing himself as ** of Lin- 
colns Inn, Gent." He advertised each profession in 
turn. The fact that Lodge is represented as Fungoso a 
student of Law in 1599, ^"^ ^^ Asotus a student of 
Physic in 1600, is not ** inconsistent " as Dr. Small 
erroneously supposed. * It is confirmatory of the identi- 
fication. The attitude of Lodge's contemporaries toward 
him is indicated in The Return from Parnassus ^ second 
part, 1601-02 where he is referred to : — 

» Small, The Stage Quarrel, p. 5Z. 



3!ntroUuctton h 

Lodge for his oare in every paper boate, 
He that turnes over Galen every day, 
To sit and simper Euphues legacy. 

The painted posts and praetorship of the father of 
Asotus are references to Thomas Lodge's father. Sir 
Thomas Lodge, a wealthy grocer who advanced money 
to the state. He was in 1553 Alderman in Cheapward, 
in 1556 Sheriff, and in 1563 Lord Mayor of London. 
He omitted his son Thomas from his will. Thomas 
Lodge, like Fungoso, studied Law but abandoned it for 
poetry, was sued by his tailor, was a sort of adventurer, 
making a trip to the Canaries with Clarke in i 588-9 and 
to America with Cavendish in i 591-3. He imitated 
and praised Daniel's poetry, as Fungoso imitated Fas- 
tidious Brisk. Asotus **this silent gentleman" is the 
same as Fungoso ** kinsman to Justice Silence." ^ 

The two prodigals Fungoso and Asotus ^ we have 

* For a fuller discussion of this identification see Penniman, The 
War of the Theatres, pp. 55 and 85, and Hart, Ben Jonsorty vol. I, 
p. xlvii and vol. 11. p. xi. 

' It is interesting to note that the old play Timon (about 1600?) 
contains, as Mr. Hart has shown (^Ben jfonson, i, p. xliii), some in- 
teresting parallels to Cynthia' i Revels. *' Philargyrus, a covetous 
churlish old man " in Timon, suggests Philargyrus, father of Asotus, 
in Cynthia'' s Revels, and in character resembles Sordido, the father 
of Fungoso in Every Man Out of His Humour. " Pseudodocheus, 
a lying traviller" and "Gelasimus a cittie heire " correspond to 
Amorphus and Asotus and there are similar scenes in the two 
plays. Pseudodocheus and Gelasimus, in Timon, exchange rings 
and the youth receives a brass one for a gold one. Amorphus and 
Asotus in Cynthia's Revels exchange beavers, Asotus receiving for 
his that "cost . . . eight crowns" one that " is not worth a 
crown." The ode in Timon " Bring me hither a cup of wine " 
is similar to Jonson's "Swell me a bowl with lusty wine" in 



lii 31ntroliuction 

seen to be the same person. Their respective com- 
panions Puntarvolo and Amorphus, both boastful trav- 
ellers given to adventure are likewise probably the same, 
though the humours of one are not identical with those 
of the other. There are two persons wuth w^hom they 
have, with show of reason, been identified. One is 
Anthony Monday ^ who appeared as Antonio Balladino 
in The Case is Altered^ Posthaste in Histriomastix, 
and was contemptuously referred to as Poet Nuntius 
in Every Man in His Humour,'^ With him Jonson 
was, as we know, at odds. The other is no less a 
person than Sir Walter Raleigh, 3 with whom, at this 
time, 1600, Jonson had, so far as is knovim, no per- 
sonal relations, though later, in 161 3, he became, on 
recommendation of Camden, tutor to Raleigh's son,* 
and assisted Raleigh in the writing of his History of 
the World. The identification of Puntarvolo, and there- 
fore probably of Amorphus, with Raleigh is a very 
natural, but, curiously enough, neglected inference from 
Aubrey's story that Raleigh sealed up the mouth of 
Charles Chester, who, Aubrey says, was the original 
of Carlo BufFone in Ever'j Man Out of His Humour , 

Poetaster, which is parodied in Satiromastix . Hermogencs appears 
as a musician in Timon and also in Poetaster. Stilpo and Speusippus 
in Ttmon talk nonsense in large words like Clove and Orange in 
E'very Man Out of His Humour. There are a number of similari- 
ties between portions of Timon and portions of several of Jonson' s 
early comedies. 

* Penniman, The War of the Theatres, p. 92. 

2 Small, The Stage Quarrel, p. 1 77. 

3 Hart, Ben Jonson, i, p. xl; ii, p. ix. 

* Conversations with Drummond, ed. Laing, p, 21. 



31ntrol)uction liii 

for it was Puntarvolo that did this to Carlo in the 
play. 

The reasons for identifying Puntarvolo and also Amor- 
phus with Sir Walter Raleigh, as given by Mr. Hart, are 
briefly as follows. ^ Raleigh was disliked for his arrogance 
and for his monopolies granted by the Queen. Puntarvolo 
was a vain-glorious knight, over-Englishing his travels 
(cf. Raleigh's Discovery of Gutanay 1596); the very 
Jacob's staff of compliment (cf the story of Raleigh's 
plush coat); a sir that hath lived to see the revolution 
of time in mosi of his apparel ( Raleigh was then forty- 
seven years old and his heyday at court was about 
fifteen years previously); affected to his own praise 
(Naunton says, in Fragmenta Regalia , that Raleigh 
had a bold and plausible tongue whereby he could set 
out his parts to the best advantage) ; he deals upon re- 
turns (Nash gives this name to Raleigh's Guiana expe- 
dition in Have with you to Saffron Walden); in spite 
of public derision to stick to his own fashion and ges- 
ture (in 1597 Raleigh, restored temporarily to favour, 
donned his old silver armour and took his place as 
Captain of the Guard). Puntarvolo was ** stiff necked," 
Raleigh was impatient and ** damnable proud " (Au- 
brey). Puntarvolo could ** taint a staff at tilt well,'* 
had "travelled beyond seas once or twice." This 
was true of Raleigh. Puntarvolo's chief act in the play 
was to seal up Carlo Buffone's mouth, which corre- 
sponds exactly with what Raleigh is said by Aubrey to 
have done to Charles Chester. As it was dangerous to 

' This identification proposed by Mr, H. C. Hart is discussed 
by him in Ben Jonion^ i, pp. xl-xliii, 11, pp. ix— xii. 



liv 31ntroDuction 

satirize knights, Jonson omits the **Sir** from Amor- 
phus {Cynthia's Revels). 

The following additional reasons for his identifi- 
cation as Raleigh are given by Mr. Hart. Raleigh was 
among the first to address the Queen as Cynthia, 
«* Great Cynthia, the Lady of the Sea," in a poem 
probably shown to Spenser in Ireland in 1589 and re- 
ferred to by Spenser in '• Colin Clouts Come Home 
Again*' dedicated to Raleigh in 1591. " Amorphus 
addresses Cynthia in exaggerated terms of flattery." 
** In I 598 when Raleigh's new favour with the Queen 
caused him to be more than ever disliked as he flaunted 
in his fifteen-year-old tilling suits and armour, and 
when his prime enemy Essex was in insolent rivalry 
and bad temper, * it appears that Essex learnt of 
Raleigh's intention of appearing with his train wearing 
orange-coloured plumes in their hats and orange favours. 
Essex thereupon dressed himself and all his enormous 
following in the same colours, so as to appear to 
absorb Raleigh and his smaller suite. ' " ( Martin Hume, 
p. 213, 1903.) On the following day there was a 
change to green, which caused a spectator to ask the 
reason; to which the reply was given "Surely because 
it may be reported that there was one in green who 
ran worse than he in orange." ' Amorphus is disgraced 
by the device of colour- wearing. **At the time of Ra- 
leigh's publication of his Discovery of Guiana, 1595, 
he was supposed to be possessed of neither honour nor 
truth by his contemporaries." He had imposed **mar- 
casite" on the public for gold. "Amorphus is repre- 

* Hart, Ben Jonson, 11, pp. ix-x. 



^dntroDuction Iv 

sented composed of unshapen projects and compelled to 
defend himself against * these detractors. ' Anaides quar- 
rels with Amorphus (as Carlo did with Puntarvolo) and 
tells him he came to town the other day in pennyless 
hose; he abuses his filthy bearded travelling face, and 
uses other Chesterlike eloquence. And Amorphus gives 
us his opinion of Anaides in the same scene [Cynthia^ s 
Revels y iv, 3]." Amorphus is a linguist, as was Raleigh. 
The vocabulary of Amorphus is not like that of Raleigh, 
but ' * we see the inflated Amorphus conceits in his let- 
ter to Cecil from the Tower in i 592 and his later let- 
ters to his wife." ' Mr. Hart mentions Jonson's tribute 
to Raleigh's literary style in the Discoveries. Amorphus 
is not only a traveller but also an antiquary. •* Raleigh 
was a conspicuous member of the earliest Society of 
Antiquaries, i 572-1 604. "^ 

An objection to the identification of Puntarvolo and 
also Amorphus with Raleigh may be made on the 
ground that if he had been represented by Jonson, it 
would have been so stated, almost certainly, by 
Aubrey, or his informant Dr. Pell, when relating 
the incident concerning Charles Chester, for it is in 
the life of Raleigh that the story is told. There arc 
other objections to the identification, for a number of 
what appear to be quite definite allusions in Every Man 

^ Hart, Ben J onion, 11, p. 12. 

* Lodge's career as an adventurer, and his voyages, agree in general 
with the relations of Fungoso (Lodge) and Asotus ( Lodge) with Pun- 
tarvolo and Amorphus respectively, but we do not know of any ac- 
tual relations between Lodge and Raleigh. Imitation of an older and 
well-known adventurer and courtier by the young prodigal might 
have existed without intimacy or even personal acquaintance. 



Ivi 31ntroUuction 

Out of His Humour and Cynthia' s Revels do not 
apply at all, so far as we know, to Raleigh, but do apply- 
to Anthony Monday, of whom also many, but not all, 
of the supposed allusions to Raleigh are true. 

The evidence which points to Monday as the original 
of Puntarvolo and Amorphus seems to be considerable, 
and taken together with the known fact that Jonson was 
a foe to Monday, gives us reason to believe that he was 
the man. Puntarvolo has travelled, and speaks French 
and Italian. He looks like **a dry pole of ling upon 
Eastereve, that has furnished the table all Lent, as he 
has done the city this last vacation." Monday was a 
traveller, had been to Italy and France, was pageant- 
poet to the city, and was accused of using stale mate- 
rial for his plays. Amorphus likewise was a traveller 
who had been to Italy and France, and boasted of the 
distinguished people he had met. Monday went to 
Rome in 1578 impelled by «* a desire to see strange 
countries and also affection to learn languages." His 
book. The English Romayne Life (1582 and 1590), 
tells of his travels on the continent. He was messen- 
ger of Her Majesty's Chamber, about 1584, and 
probably travelled as playwright and actor with Pem- 
broke's Company in i 598. He was old enough to have 
seen **the revolution of time in most of his apparel," 
as Jonson said of Puntarvolo. 

Amorphus speaks of his ability to **refel" para- 
doxes. Monday wrote a book called The Defence of 
Contraries- Paradoxes against common opinion y etc.^ 
1593. Jonson attacks Monday's writings, and Amor- 
phus the ** traveller " may possibly be a play on the 



3IntroDuction ivii 

word, used by Webbe of Monday, whom he calls ** an 
earnest traveller in this art [poetry].^ Amorphus criti- 
cizes the verse ot Hedon and explains the relation of 
words to music. Monday wrote poems which were set 
to music, and in i 588 published A Banquet of Daintie 
Conceits : furnished zvith verie delicate ana choyce In- 
ventions to delight their mindes who take Pleasure in 
Musique ; ana therewithal to sing sweete Ditties either 
to the Lutey Bandora, Firginalles, or anie other Instru- 
ment. When Amorphus proposes that a masque be pre- 
sented Arete immediately suggests that Crites (Jonson) 
be asked to prepare it, while Hedon's (Daniel's) ap- 
proval of the suggestion, ** Nothing better if the project 
were new and rare," echoes the old charge of the use of 
** Stale Stuff" made against Monday. Crites is told to 
prepare the masque and Amorphus is rejected. Monday 
was the pageant-poet who, if Amorphus is Monday, 
as there is reason for believing, is once more rebuked 
by Jonson. The fact that Anthony Monday was the 
translator of many of the old romances, notably that of 
Amadis de Gaule^ and that Thomas Lodge was also 
a writer of romances after the old fashion, such as 
Rosalyndey The Histor-^ of Robert Second Duke of 
Normandyy William Longbeardy and others, is a point 
of similarity between the two men which may have 
been in Jonson' s mind in writing several passages con- 
cerning Puntarvolo and P'ungoso, Amorphus and Asotus. 
Concerning the identity of Anaides and Hedon in 
Cynthia^ s Revels there are two opinions worthy of con- 
sideration. The first is that they are Dekker and Mars- 
* Webbe, Discourse of English Poetrie, 1586. 



Iviii 31ntroDuction 

ton, though critics who have held this view have not 
agreed as to which is Dekker and which Marston.* 
These identifications are based with good reason on 
Dekker' s lines in Satiromastix, in which he makes 
Horace (Jonson) refer to Crispinus and Demetrius in 
terms taken from the lines of Crites (Jonson), in Cyn- 
thia's Reveisy where they refer to Hedon and Anaides. 
As Dekker used as many lines from Jonson' s plays as he 
could in Satiromastix, we need not be surprised if some 
of them are dragged in forcibly. The second opinion in 
regard to Anaides and Hedon regards Dekker's appa- 
rent identification of them as an effort on his part to 
show that he as well as Marston had been satirized by 
Jonson, hence the writing of Satiromastix. Without the 
statement in Satiromastix no sufficient reason whatever 
has been found by any critic for identifying as Dekker any 
character in Jonson' s Comedies, with the known excep- 
tion of Demetrius in Poetaster. We have shown what we 
believe to be convincing reason for thinking that Hedon 
was neither Marston nor Dekker, but Daniel, with 
whom we know Jonson to have been at odds. If Dekker 
was wrong, and it certainly seems that he was, in regard 
to Hedon, he may also have been wrong in regard to 
Anaides. The resemblances between Anaides and Carlo 
Buffone are so numerous that, if the latter was intended 
for Charles Chester, as Aubrey said, Anaides was prob- 
ably the same person. We have expressed our doubt as 
to the accuracy of Aubrey's statement.' 

' Small, The Stage parrel, pp. 34 and 42 ; also Penniman, 
The War of the Theatre^., p. 46, note I, p. 84, note 2. 

2 See above, p. xix. Mr. H. C Hart writes: "... Pcnni- 






^Introduction Hx 

Several similarities between Anaides and Demetrius 

man finds Anaides to be a continuarion of Carlo Buffone, which 
is obviously the case. He is depicted as a ribald public jester at ordi- 
naries, and agrees in every respect with the old identification of 
Carlo with Chester. . . . Jonson seems to have had a serious 
quarrel with Chester, if these representations be correct. See Jasper 
Mayne in Jonsonus Virbius. . . . Two lines in this play (in, ii, 
86-7), are quoted by Dekker in Satiromasttx (Pearson, p. 195), 
who applies them as Horace's to himself and Marston. Penniman 
\^The fVar of the Theatres, p. 80] makes that an argument in 
favor of Anaides being Marston (which he confidently believes, 
and I reject), but since there is no trace of Dekker in Cynthia^ s 
Rt'vels in Penniman's view (or in mine), I think those lines are 
merely transferred and translated to a different application. It is no 
argument one way or other." (Hart, Jomon, 11, pp. vii-viii.) 

Dr. Mallory, who for the most part follows and quotes Dr, 
Small's work in dealing with the stage war, bases his identification 
of Hedon and Anaides with Crispinus and Demetrius on Dekker's 
quotation of the lines from Cynthia's Revels, and says : " But the plain 
meaning of the passage in Sattromastix is that Hedon = Crispinus = 
Marston, and that Anaides = Demetrius = Dekker, and it would 
take a good deal of * proof such as Penniman adduces to convince 
us that Dekker was not acute enough to discover and state the facts 
in this instance." {Poetaster, p. 1, ed. by H. S. Mallory, Yale 
Studies in English, 1 905.) In this connection it may be noted that 
Dekker (in To the Worla) positively identifies Tucca with '• Cap- 
tain Hannam." Of this mention of one who seems to have been 
an actual character. Dr. Mallory says (p. xcvi) : " Perhaps Dekker 
was right in surmising th.it Tucca represented Captain Hannam, 
but the latter is quite unknown to us." 

That Dekker's quotation and application of verses which are 
capable of other interpretation, and for the misinterpreting of which 
he had a definite motive, should be accepted as final, while a definite 
statement in regard to which Dekker had no possible motive for a 
false identification should be tiken by Dr. Mallory with a " per- 
haps" and referred to as "surmising," seems very much like an 
inconsistency. Jonson complained of misinterpretation of his lines 
in the Poetaster (v, i), and in the Dedication of Volpone^ though 
perhaps not ingenuously. 



ix 3llntroDuction 

which have been noticed by Dr. Small are only such as 
might have been and doubtless were common to all of 
Jonson's enemies. These points of similarity are all men- 
tioned by Lodge as characteristic of the jealous man in 
his description of jealousy in IVits Misrrie, 1595. Such 
were the charging of Crites and Horace with plagiarism 
and the confession of inability to match them in know- 
ledge of foreign authors. Demetrius was ** hired to abuse 
Horace, ' * and in doing so simply repeated the old charges 
made by Anaides and Crispinus. The similarities be- 
tween Hedon and Crispinus' prove on consideration to be 
unimportant, especially when we have so much reason 
for supposing that Hedon was Daniel, and know that 
Crispinus was Marston. Both of these men were well- 
born, could sing, and hated Jonson. All this was doubt- 
less true of a dozen other men of the time. 

In the absence of any other evidence to enable us to 
determine the identity of Anaides, it would seem more 
likely that he was Marston than that he was Dekker, if 
indeed he was either. Anaides is a practised gallant 
(^Cynthia^ s Revels, 3,1) as is Crispinus. Dekker was 
never a gallant, does not even^ know the gallants in Poet- 
aster, as Demetrius, and is jealous of Horace-Jonson 
for keeping company with gallants. Jonson, so far as 
we know, had no quarrel with Dekker prior to the writ- 
ing of Poetaster, during which he heard of the hiring of 
Dekker to write a reply. So slight is the part of De- 
metrius (Dekker) in Jonson' s play that the conclusion 
is perhaps warranted that Dekker was not in Jonson's 
thoughts at all until Poetaster was nearly or quite com- 

» Small, The Stage parrel, p. 42. 



31ntroUuction ixi 

pleted, for the omission of a few lines in in, 4, and the 
altering of a few others in v, 3, of the play as we have 
it would remove Dckker wholly, without changing the 
plan of the play, or the attack on Marston.' 

In Marston's two plays The Histor"^ of Antonio and 
Mellida and Antonio* s Revenge y both performed certainly 
by 1600, possibly as early as 1599, occur words ridi- 
culed by Jonson in Poetaster. The first of these plays 
contains a scene (v, i) in which a painter is asked to 
paint **Uh" and to ** make a picture sing." A simi- 
lar scene occurs in The Spanish Tragedy (iv) in which 
Hieronimo requests Bazardo to paint **a doleful cry." 
This painter scene was probably written by Jonson as 
one of the **adicyons" to what Henslowe calls Gero- 
nymoy but which was almost certainly The Spanish Trag- 
edy y to which additions were made by Jonson in 1601 
and 1602.' The scene is specially mentioned on thetitle- 
pageofthis quarto of 1602. Whatever the actual relation 
of the two scenes to each other, Jonson's was almost cer- 
tainly the later. In Cynthia's Revels, 1600, occurs the 
line addressed to Crites, **Sir you have played the 
painter yourself and limned them to the life," while 
in Antonio and McIlida (v, i), Balurdo says to the 
painter who ** did limn "the two pictures, "Limn them? 
a good word, limn them: whose picture is this? Anno 
Dominiy I 599. Believe me, master Anno Domini was of 
a good settled age when you limned him: i 599 years 

* Penniman, The War of the Theatres, p. I13. 

* Hensloive^s Diary ^ Sh. Soc. pp. 201, 223; Hemloiue^ s Diary ^ 
ed. Greg, pp. 149, 168. Penniman, The War of the Theatresy 
pp. 98-101. Small, The Stage i^uarre/, pp. 58, 59; 92, 93. 



ixii ^Introduction 

old! Let's see the other. Aetatis Suae 24. Byrlady, 
he is somewhat younger. Belike master Aetatis Suae was 
Anno Domini's Son." The play on the word ** limn " 
suggests an allusion to Jonson's use of it, and i^ Antonio 
and MeUida\% later than Cynthia^ s Revels^ in the same 
year 1600,' the allusion seems probable. The allusion 
might have been the other way if the order in which the 
plays appeared was reversed. There are the following 
reasons for supposing that Marston's play was later 
than Jonson's. The epilogue to Cynthia's Revels must 
have aroused antagonism by its arrogant tone. ** By — 
tis good, and if you like't you may." To this the epi- 
logue to Antonio and Mellida seems like a direct rebuke 
— ** I stand not as a peremptory challenger of desert, 
either for him that composed the comedy, or for us that 
acted it; but as a most submissive suppliant for both." 
Moreover, Marston's Epilogue was armed, and Jon- 
son's next play Poetaster y aimed at Marston, had an 
armed Prologue. The two pictures in Marston's scene 
may be intended to represent attacks on Marston by 
Jonson, in i 599 in Every Man Out of His Humour and 



* Dr. Small {The Stage S^uarrel, p. 92), believing that the two 
pictures were of Marston himself, assumed that 1599 was an 
allusion to the date of Antonio and Alellida and that * ' Aetatis Suae 
24 " was a second allusion to the same year. If, however, as seems 
more likely, the reference is to two different pictures of Marston 
by Jonson the date is that of Jonson's play and not Marston's, hence 
Marston's play would be later, in 1600. We simply do not know 
what the two pictures and dates mean. In Satiromastix two pictures 
are brought in, one of the Roman Horace, the other of Jonson- 
Horace. 



3lntroi5uctton ixiii 

ing of*' Anno Domini i 599," and ** AetatisSuae 24,'* 
the later referring to Marston's age. We do not know 
the date of Marston's birth, but a statement quoted by 
Dr. Grosart (in the Introduction to Marston' s Poems, 
p. x) indicates that it was probably 1575. On Feb. 4th, 
1591-92, **John Marston, aged 16, a gentleman's son 
of CO Warwick was matriculated at Brazennose College, 
Oxford." This is thought to have been the poet. 

A third play of Marston' s. Jack Drum* s Entertain- 
ment , 1600, contains words disgorged by Crispinus in 
Poetaster, and also a possible reference to Jonson's ridi- 
cule ofMarston's vocabulary in the «* flistian " of Clove 
and Orange in Every Man Out of His Humour. One of 
the characters, Planet, says, ** By the Lord, fustain now 
I understand it ; complement is as much as fustian.'* 
The play contains the only allusion to ** Venerie," in 
Marston's plays, which can be construed as applying to 
Jonson's statement that ** Marston represented him in 
the stage, in his youth given to venerie. . . . He said 
that two accidents strange befell him ; one, that a man 
made his own wyfe to court him, whom he enjoyed two 
yeares ere he knew of it, and one day finding them by 
chance, was passingly delighted with it." ' 

The probability that the expression ** in his youth 
given to venerie" should not be connected in meaning 
with the statement that ** Marston represented him in 
the stage " has been considered above. Whether this is 
so or not, it happens that in the adventure of Monsieur 
John fo de King with the wife of Brabant Senior in Jack 
Drum we have an incident in some respects similar to 

* Conversations -with Drummond, ed. Laing, p. 20. 



ixiv 3(IntroUuction 

the first of the ** accidents strange " related of himself 
by Jonson. Affairs did not continue so long as in Jon- 
son's case, nor was the husband ** delighted" on find- 
ing his wife with another man. The licentious French- 
man is certainly not Jonson in any other particular, even 
if he is in this. Jonson appears probably as Brabant Se- 
nior, the critic and censurer, •* puft up with arrogant con- 
ceit. ' ' Marston is referred to by Brabant Junior as * * the 
new poet Mellidus," an allusion to Antonio and Mcl- 
lida. Drayton is referred to as Decius, a name given to 
him by Sir John Davies in an epigram.' 

Marston' s What I'ou Will was not printed until 
1607, and then in what is evidently a revised form, for 
there are several passages in which the same character 
has two names, one of which is probably from an earlier 
form of the play. From the fact that it contains allusions 
to Every Man Out of His Humour ^ 1 599, and Cynthia' s 
Revels^ 1600, but no allusion to Poetaster y we may in- 
fer that the play was written before Poetaster, to which 
Marston would almost certainly have referred had his 
play been later. That no words from What Vou Will 
are ridiculed by Jonson is explained by Dr. Small ^ as 
due to the revision of the play, in which Marston may 
have omitted words, used in the earlier form and found 
among those disgorged by Crispinus in Poetaster y which 

* See Penniman, The War of the Theatres^ p. 74 ; Small, The 
Stage Quarrel, p. 97. 

' The Sta^e parrel, p. 108. See also H. C. Hart, Notes and 
S^ueries^ Series 9, vol. xii, p. 342, where some of the words of 
Crispinus not found in Marston are mentioned as found in Gabriel 
Harvey's writings. Jonson attacked Harvey's vocabulary several 
times. See above, p. xxx. 



^IntroOuction ixv 

are not in any of Marston's other works. This may be 
so. There are numerous words and expressions in What 
You Willy even in its revised form, which Jonson might 
well have selected as characteristic of Marston's diction. 
If What Tou Will was written later than Poetaster , 
then Marston may have eliminated, in revision, all refer- 
ences to that play. This is possible, but perhaps less 
likely than the other explanation, inasmuch as hostility 
to Jonson is shown in many passages. We know that 
Marston's relations to Jonson changed between the pre- 
sentation of Poetaster in 1601 and the publication of the 
revised What Tou Will'm 1607, for in 1604 was pub- 
lished The Malcontent, dedicated to Jonson in flattering 
terms. 

The Induction of What Tou Will, spoken by Atti- 
cus, Doricus and Philomuse, is similar to that of Every 
Man Out of His Humour, in which Cordatus, Asper and 
Mitis discuss the play and the author's intention, and 
to the Induction of Cynthia* s Revels, in which three of 
the children talk about the play. Marston's Induction is 
in answer to the speeches of Asper, in which Jonson set 
forth his own merits and announced his independence 
of criticism. What Tou Will contains z number of imi- 
tations of passages in Every Man Out of His Humour 
and Cynthia* s Revels.^ Two characters, Lampatho and 
Quadratus, who are constantly wrangling, represent 
Marston and Jonson. There are, in the lines of each, 
statements and allusions applicable to either Marston or 
Jonson, so that critics have not agreed as to which is 
Marston and which Jonson. ^ Quadratus calls Lampatho 

* Penniman, The War of the Theatres^ p. 140. 

* Small, The Stage S^uarrel, p. no. 



ixvi BIntroDuction 

" Don Kinsayder,** a name under which Marston wrote 
his Scourge of Villanie and by which he is referred to 
in The Returne from Parnassus y Part ii (i, 2) and in 
The Pilgrimage to Parnassus (11). Apart from this, 
which seems like an identification of Lampatho with 
Marston,' the character is much more in keeping with 
that of Jonson. Dr. Small agrees with Mr. Bullen in 
identifying Quadratus with Marston and Lampatho with 
Jonson.* 

The relations of theatrical companies to each other 
figure in HistriomastiXy Poetaster and Satiromastix, as 
well as in several other Elizabethan plays. We do not 
know very much about these relations, but in connec- 
tion with this ** war" it is an interesting fact that Jon- 
son's early comedies. Every Man in His Humour and 
Every Man Out of His Humour y were performed by the 
Chamberlain's Company, and Shakespeare took a part in 
the presentation of the former. When Satiromastix was 
presented, with its bitter attack on Jonson, it was at the 
Globe theatre by the Chamberlain's Company. This 
was Shakespeare's Company, and it may be, as some 
critics are disposed to believe, in the absence of other 
convincing evidence, that the presentation o( Satiromas- 
//>, with Shakespeare's approval, by the Chamberlain's 
Company was the ** purge" given to Ben Jonson, re- 
ferred to in The Return from Parnassus, Part 11. 3 Wc 

^ The War of the Theatresy p. 139. 

" Bullen, Marstoriyiy xlvi j Small, The Stage parrel, pp. no, 
III. 

^ Penniman, The War of the Theatres^ p. 149. But see also 
Small, The Stage parrel, pp. 139-171. 



iflntroDuction ixvii 

do not know that it was, in fact we really know very- 
little about the whole affair. 

In Poetaster and SatiromastiXy both performed in 
1 60 1 , we have an open and avowed attack by Jonson 
on Marston and Dekkcr and the direct reply thereto 
by Dckker. The notes to these plays in this volume 
will show in what the attack and reply consisted. That 
these plays represented the culmination of a series wc 
may infer from Jonson's Apologetical Dialogue already 
quoted." What the relations of the earlier plays were 
to each other or to these two plays is for us a matter of 
inference and conjecture. Jonson, gathering up all his 
powers as a satirist and dramatist, produced in fifteen 
weeks a play in which he sought to overwhelm his foes, 
Marston and Dekker, as Crispinus and Demetrius, and 
place himself in a lofty position as Horace, the poet 
approved by Caesar and Virgil. Dekkcr, hurriedly called 
to the aid of Marston and his faction, threw together a 
curious hodge-podge of William Rufus, Sir Walter 
Tcrill and others, mixed with Crispinus, Demetrius, 
Horace and Tucca from Poetaster, called it Satiromas- 
tix and presented it as the reply to Jonson. So far as 
Jonson was concerned the '*vvar" ended. He aban- 
doned comedy for a time and announced the fact in the 
Apologetical Dialogue. Marston' s play. The Malcon- 
tent, 1604 (quarto), is dedicated ** Benjamino Jon- 
sonio, Poetae elegantissimo, gravissimo, amico suo, can- 
dido et cordato, Johannes Marston, Musarum alumnus, 
asperam hanc suam Thaliam, D[at] D [edicatque] .'* 

In Parasitaster, or The Fawny 1606, quarto, there 
* Above, p, xvi. 



ixviii 3Introtiuction 

is no reference to Jonson that we can be sure of, but in 
the address to the Reader in Sophonisba, 1 606, quarto, 
Marston attacks Jonson' s Sejanus, but does not attack 
Jonson in the play. 

The editor of this volume has tried to set forth in this 
Introduction such information as we possess concerning 
the plays and characters in the stage war. Facts and con- 
jectures, based on what seems like evidence, have been 
presented, but, ever since the plays were acted, critics 
have differed in the interpretation of particular passages 
and the identity of characters. What one critic has ac- 
cepted as conclusive proof of an identification has often 
been set aside by the next critic as erroneous or value- 
less.^ The only persons who knew what the authors 
meant were the authors themselves, and, possibly, a few 
contemporaries in whom they confided. Lucian tells of 
a visit to the other world to consult Homer in regard to 
opinions of the scholiasts. The result was Homer's de- 
claration that he wrote every one of the lines which 
the textual critics had proved to their own satisfaction 
that he could not have written. A similar conversation 
with Ben Jonson and Marston and Dekker would set at 
rest the disputes of critics concerning these plays — and 
it is probably the only thing that would. 

* Mr. Tucker Brooke, in The Tudor Drama, pp. 372-386 
(191 1), rejects practically all opinions of previous critics concerning 
the stage war. For the " purge " given to Jonson by Shakespeare 
he suggests lines in Hamlet, as originally presented, which were 
never printed. Years ago Dr. Brinsley Nicholson suggested that 
the " purge " was a " piece " of Shakespeare's that has not come 
down to us. 



THE TEXT 

The text of this edition of Poetaster is that of a copy of the 
1616 folio, owned by the editor, collated with (i) the quarto 
1602, (2) the second folio 1640, (3) the special large paper edition 
of the 1 6 16 folio, a copy of which is in the British Museum, (4) a 
copy of the 161 6 folio in the University of Pennsylvania Library, 
which contains several uncommon readings and is probably of the 
same issue as that with which Whalley worked. (See 28, 50, note. ) 
As the text of Jonson is almost always perfectly clear, I have re- 
garded it as a waste of time for both reader and editor to cumber 
the text with variant readings from the folios of 1692 and 17 16, 
the former of which professes to be a reprint in one volume of the 
two volumes of 1 640, while the latter is merely an edition issued 
by a bookseller, and has no authority whatever. Differences in 
punctuation which do not affect the meaning have been omitted 
from the variants, which include differences of readings and important 
differences in punctuation. The editions of Whalley (1756), Gif- 
ford (r8l6), and Nicholson ( 1893), excellent as they are in some 
respects, are of no authority or value in regard to the text. Mention 
must be made here of the reprint of the first folio under the super- 
vision of Professor Bang of the University of Louvain, and of the 
edition of Poetaster by Dr. Maliory in the Yale Studies in English. 
Dr. Maliory bases his text on the folio of 16 16 in the Yale Library, 
and another copy, differing slightly, owned by Professor Phelps of 
Yale. Dr. Maliory collated the text with the quarto, the 1 640, 
1692, 1716 folios, and with the editions of Whalley, Gifford, and 
Nicholson. 

The folios differ in some important respects from the quarto, 
but a complete collation of the former would require perhaps an 
examination of every copy of the 161 6 folio in existence. For the 
collation of the large paper copy of the 1 61 6 folio, I am indebted 
to the courtesy of Mr. Percy Simpson, who with Professor Herford 
is at work on the forthcoming important edition of Jonson's works. 
Mr. Simpson writes of the large paper edition: 

" The sheets of the i6i6 folio were reissued in a special form 



ixx grije ^txt 

during the year of publication. It was printed on large paper. The 
name of William Stansby appears alone on the imprint. The title- 
page of ' Cynthia's Revels ' and ' Poetaster,' and a few pages of 
the text, are reset. There are slight and occasional differences of 
reading and punctuation; but the work of revision is fitfully done, 
and misprints are not always corrected. Copies of this folio are ex- 
tremely rare. Probably they were intended for presentation to the 
author's friends, and the issue was limited. Jonson's incomplete- 
ness in revising is curious : perhaps the printer was at times too 
quick for him. Only a few of the various readings take their place 
in the folios of 1640." An example of this is "doe," 157, 459. 
There are at least four varieties of the title-page of the 1616 
folio, bearing respectively the following names : — I. Will Stansby. 
2. William Stansby. 3. W. Stansby, [andj Richd. Meighen [the 
bookseller]. 4. W. Stansby, [and] M. Lownes [the bookseller]. 
The present text is from a copy with title-page 3. The University 
of Pennsylvania library copy has title-page i. In this edition itali- 
cization and capitalization have been modernized and stage-directions 
have been drawn into their proper places in th-r text from left or 
right. The punctuation, as Jonson's own, is left intact. The abbre- 
viations of names of characters have been made uniform, and the 
name of the first speaker in the scene, omitted in the folio, is given. 



POETASTER, 

OR 

His Arraignement. 

A ComicaU Satyrc^, 

Aded , in the yeerc i6oi. By the then 

Children of Qucene Elizabeths 

C H A P P E L. 

The Author B. I. 
Mart. 

£/ mibl it naUtfmA ruhtrefUtet. 



London, 

Printed by William Stansbt, 
for Mattherp Lcnpnes. 



U. DC, XVI. 



TO 

THE VERTUOUS, 

AND MY WORTHY 
FRIEND, 

M^- Richard Martin. 

SIr, ^ than kef ull man owes a courtesie euer: 
the unthankefull^ but when he needes it. To 
make mine owne marke appear e^ and shew by 
which of these seales I am known^ I send you this 
peece of what may Hue of mine ; for whose innocence^ 
as for the Authors., you were once a noble and timely 
undertaker., to the greatest "Justice of this kingdome. 
Enjoy now the delight of your goodnesse ; which ts to 
see that prosper., you preserii d : and posteritie to owe 
the reading of that., luithout offence., to your name ; 
which so much ignorance., and malice of the times^ 
then conspird to haue supprest. 

Your true louer, 

Ben. Jonson. 

To the. This dedication appears first in the i6i6 folio. 



THE PERSONS OF THE PLAY. 



Augustus CiCSAR. 
Meccenas. 
Marc. Ovid, 
Cor. Callus. 
Prophrtius. 
Fus. Aristus. 
Pub. Ovid. 
Virgil. 
Horace. 
Trbbatius. 



Julia. 
Cythbris. 

Plautia. 
Chloh. 
Mavdes. 



Lupus. 

TUCCA, 

Crispinus. 
Hermogenbs. 
De. Fannius. 
Albius. 
Minos. 

HiSTRIO. 

Pyrgus. 

[Luscus. 

JEsop. 

TiBULLUS.] 
LiCTORS. 



THE SCENE. 
ROME. 



TTjt Ptrioni. The quarto page is as follows t 

The Persons That Act. 



2 Mccacnas. 
J Mar. Ovid. 

4 Cor. Callus. 

5 Propcrtius. 

6 Fu. Aristius. 

7 Pub. Ovid. 

8 Virgin, 

9 Horace. 
ID Tucca. 



I Augustus Cxsar. 



20 Julia. 

21 Cytbcris. 

22 Plautia. 
2} Chloe. 
24 Maydcs. 



11 Lupus. 

12 Crispinus. 

1} Hermogcncs. 
14 De. Fanniua. 
1$ Albius. 

16 Minos. 

17 Histrio. 

18 Pyrgua. 

19 Lictor. 



Ad Lectorcm 

Ludimus innocuis verbis, hoc juro potentis 

PerCenium Famac, Castalidumq gregcm : 

Perq tuas aures, magni mihi numinis instar. 

Lector, inhumana liber ab Invidia Mart [7,12,9-12] 

Luscui. He, i^sop and Tibullus do not appear in either list of names. 
1640 adds here the list of actors as given on p 354, folio 1616. 



f^oetajster 

After the Second Sounding. 

Envie, Arising in the midst of the stage. 
Light, I salute thee ; but with wounded nerves : 
Wishing thy golden splendor, pitchy darknesse. 
What's here? Th'Arraignment ? I: This, this 

is it, 
That our sunke eyes have wak't for, all this 

while : 
Here will be subject for my snakes, and me. 5 

Cling to my necke, and wrists, my loving 

wormes. 
And cast you round, in soft, and amorous foulds. 
Till I doebid, uncurie: Then, breake your knots. 
Shoot out your selves at length, as your forc't 

stings 
Would hide themselves within his malic't sides, 10 
To whom I shall apply you. Stay : the shine 
Of this assembly here offends my sight, 
rie darken that first, and out-face their grace. 
Wonder not if I stare : These fifteene weekes 
(So long as since the plot was but an embrion) 15 
Have I, with burning lights mixt vigilant 

thoughts, 

After . . . ioundlng. Q omits. 

En-vie Q, Livor, omitting stage direction. F l6i6 and 1640, 
print directions in margin. 



6 poetaster 

In expectation of this hated play : 

To which (at last) I am arriv'd as Prologue. 

Nor would I, you should looke for other lookes, 

Gesture, or complement from me, then what 

Th'infected bulke of Envie can afford: 

For I am riffe here with a covetous hope, 

To blast your pleasures, and destroy your sports, 

With wrestings, comments, applications, 

Spie-like suggestions, privie whisperings. 

And thousand such promooting sleights as these. 

Marke, how I will begin: The scene is, ha! 

Rome ? Rome ? and Rome ? Cracke ey-strings, 

and your ballcs 
Drop into earth ; let me be ever blind. 
I am prevented ; all my hopes are crost, 
Checkt, and abated ; fie, a freezing swcate 
Flowes forth at all my pores, my entrailes burne : 
What should I doe ? Rome ? Rome ? O my 

vext soule. 
How might I force this to the present state ? 
Are there no players here ? no poet-apes. 
That come with basiliskes eyes, whose forked 

tongues 
Are steept in vcnome, as their hearts in gall ? 
Eyther of these would helpe me ; they could 

wrest. 
Pervert, and poyson all they heare, or see. 

Head-line. The folio r6l6 has Cynthias Reiel/s as heading in- 
stead of Poetaster. 



J0oeta0ter 7 

With senselesse glosses, and allusions. 40 

Now if you be good devils, flye me not. 
You know what deare, and ample faculties 
I have indow'd you with : He lend you more. 
Here, take my snakes among you, come, and 

eate. 
And while the squeez'd juice flowes in your 

blacke jawes, 45 

Helpe me to damne the authour. Spit it foorth 
Upon his lines, and shew your rustic teeth 
At everie word, or accent: or else choose 
Out of my longest vipers, to sticke downe 
In your deep throats ; and let the heads come 

forth 50 

At your ranke mouthes ; that he may see you 

arm'd 
With triple malice, to hisse, sting, and tcare 
His worke, and him ; to forge, and then declame, 
Traduce, corrupt, apply, enforme, suggest : 
O, these are gifts wherein your soules are blest. 55 
What ? doe you hide your selves ? will none 

appeare ? 
None answere ? what, doth this calme troupe 

affright you ? 
Nay, then I doe despaire : downe, sinke againe. 
This travaile is all lost with my dead hopes. 
If in such bosomes, spight have left to dwell, 60 
Envie is not on earth, nor scarse in hell. 

54 enforme. 1640, enforce. 



The Third Sounding. 

PROLOGUE. 

Stay^ Monster^ ere thou sinke^ thus on thy head 

Set we our bolder foot i with which we tread 

Thy malice into earth : So spight should die^ 

Despised and scorn d by noble industrie. 

If any muse why I salute the stage^ 5 

Jn armed Prologue ; knoT.u^ 'tis a dangerous age : 

Wherein^ who writes^ had need present his scenes 

For tie fold-proof e against the conjuring meanes 

Of base detractors^ and illiterate apes^ 

That fill up roomes in fair e and for mall shapes, »o 

* Gainst these^ have ive put on this forct defence : 

Whereof the allegorie and hid fence 

Isy that a well erected confidence 

Can fright their pride ^ and laugh their folly hence. 

Here noiv^ put case our Jut hour should^ once more^ 15 

Swear e that his play ivere good ; he doth implore^ 

Tou would not argue him of arrogance : 

How ere that common spawne of ignorance., 

Our frie of writers^ may beslime his fame., 

j^nd give his action that adulterate name. 10 

Such ful-bloivne vanitie he more doth lothe. 

The . . . Sounding. Q omits. Prologue. Q, Prologus. 



poetaster 9 

Then base dejection : There* s a meane ^twixt both. 

Which with a constant firmenesse he pursues^ 

As one^ that knowes the strength of his owne muse. 

And this he hopes all free soules will allow^ aS 

Others^ that take it with a rugged brow^ 

Their moods he rather pitties^ then envies : 

His mind it is above their injuries. 



Act I. Scene I. 

\The House of Ovid yunior.'J 

Ovid \_Ju?iior] , Luscus \enter'\ . 

Ovid junior. Then^when this hodie falls in f une- 
rail fire ^ 
My name shall live^ and my best part aspire. 
It shall goe so. 

Luscus. Young master, master Ovid, doe you 
heare? gods a mee ! away with your songs and 
sonnets; and on with your gowne and cappe, 
quickly : here, here, your father will be a man of 
this roome presently. Come, nay, nay, nay, nay, 
be briefe. These verses too, a poyson on 'hem, 
I cannot abide 'hem, they make mee readie to 
cast, by the bankes of helicon. Nay looke, what a 
rascally untoward thing this poetrie is ; I could 
teare 'hem now. 

Ovid. Give me, how neere's my father I 

Act I. Scene I. Q, Actus Primus. Scena Prima. 

O-vid Junior^ Luscus. F puts at beginning of each scene the 
names of all who take part in it. 

I Then^ ivhen. Q, Oaiid. Then, ivhen The folio does not assign 
the first speech in a scene, but it always belongs to the first charac- 
ter named in the list at the beginning of the scene. The quarto 
always assigns the first speech. 



Scene I.] ^OmSttt 1 1 

Lusc. Hart a'man : get a law-booke in your 15 
hand, I will not answere you else. Why so : now 
there's some formalitie in you. By Jove, and 
three or foure of the gods more, I am right of 
mine olde masters humour for that ; this villanous 
poetrie will undoe you, by the welkin. 10 

OvU. What, hast thou buskins on, Luscus, 
that thou swear'st so tragically, and high ? 

Lusc. No, but I have bootes on, sir, and so 
ha's your father too by this time: for he callM 
for 'hem, ere I came from the lodging. *S 

Ovi{^. Why ? was he no readier ? 

Lusc. O no; and there was the madde skel- 
dring captaine, with the velvet armes, readie to 
lay holde on him as hee comes downe : he that 
presses everie man he meets, with an oath, to 30 
lend him money, and cries ; (Thou must doo't, 
old boy, as thou art a man, a man of worship.) 

Ovid. Who ? Pantilius Tucca ? 

Lusc. I, hee: and I met little master Lupus, 
the Tribune, going thither too. 35 

Ovid. Nay, and he be under their arrest, I 
may (with safetie inough) reade over my elegie, 
before he come. 

Lusc, Gods a mee ! What'll you doe ? why, 
young master, you are not castalian mad, luna- 40 
tike, frantike, desperate ? ha ? 

36 and. 1640, Wl'. 



12 poetaster [act i. 

Ovid. What ailest thou, Luscus ? 

Lusc. God be with you, sir. Tie leave you to 
your poeticall fancies, and furies. Tie not be 
guiltie, I. [Exit.'] 45 

Ovid. Be not, good ignorance : I'm glad 
th'art gone : 
For thus alone, our eare shall better judge 
The hastie errours of our morning muse. 

Ovid. Lib. I. Amo. Elc. 15. 

Envie^ why twit'st thou w^, my time's spent ill? 

And call' St my verse., fruits of an idle quill ? 5° 

Or that (unlike the line from whence I sprung) 

Wars dustie honours I pursue not young ? 

Or that I studie not the tedious lawes ; 

And prostitute my voyce in everie cause ? 

Thy scope is mortall ; mine eternall fame : 55 

IVhich through the world shall ever c haunt my name, 

HoMERwill live.,ivhirstYEriEDOS stands^and Ide^ 

Or., to the sea., feet SiMOis doth slide: 

And so shall Hesiod too., while vines doe beare, 

Or crooked sickles crop the ripened eare. 60 

Callimachus, though in invention lowe^ 

Shall still be sung : since he in art doth f owe. 

No losse shall come to Sophocles proude vaine. 

With sunne., and moone., Aratus shall remaine. 

Whir St slaves be false., fathers hard.,and bawdes be 

whorishy 65 

45 I- Q, £»«• 



Scene I.) ^OttUmt 13 

IVhiVst harlots flatter^ shall Men ander flourish . 

Y^NSlVS^though rude^and Accwjshigh-reard straine^ 

J fresh applause in evrie age shall gaine. 

(y Varro's name^ what eare shall not be told? 

(y Jasons Argo ? and the fleece of gold? 70 

'Then shall Lucretius loftie numbers die^ 

When earthy and seas in fire and flames shall frie. 

Tytirus, Tillage^ i^NEE shall be read^ 

Whir St Rome of all the conquer d world is head. 

Till Cupids yfr^j be out^ and his bowe broken^ 75 

Thy verses (neate Tibullus) shall be spoken. 

Our Gallus shall be knowne from east to west : 

So shall Lycoris, whom he now loves best. 

The suffering plough-share^ or the flint may weare : 

But heavenly poesie no death can f eare. 80 

Kings shall give place to it^ and kingly showeSy 

The bankes ore which gold-bearing ^AGVsflowes. 

Kneele hindes to trash: me let bright Phcebus swelly 

With cups full flowing from the Muses well. 

Frost-fearing myrtle shall impale my head^ 85 

And of sad lovers lie be often read. 

" Envie^ the livings not the dead^ doth bite : 

" For after death all men receive their right. 

Then., when this bodie fals in funerall fire^ 

My name shall live^ and my best part aspire. 90 

85 Froit-f earing, Q, The frost-drad. 



H poetaster iacti. 

Act I. Scene II. 

[The Same^ 

Ovid Senior y Luscus, Tuccoy Lupus, \_and'\ Pyrgus 
[enter^ . 

Ovid senior. Your name shall live indeed, sir; 
you say true: but how infamously, how scorn'd 
and contemn'd in the eyes and eares of the best 
and gravest Romanes, that you thinke not on: 
you never so much as dreame of that. Are these 5 
the fruits of all my travaile and expenses ? is this 
the scope and aime of thy studies? are these the 
hopefull courses, wherewith I have so long flat- 
tered my expectation from thee ? verses ? poetrie ? 
Ovid, whom I thought to see the pleader, be- lo 
come Ovid the play-maker? 

Ovid junior. No, sir. 

Ovid sen. Yes, sir. I heare of a tragoedie of 
yours comming foorth for the common players 
there, call'd Medea. By my houshold-gods, if I iS 
come to the acting of it. He adde one tragick part, 
more then is yet expected, to it : beleeve me when 
I promise it. What? shall I have my sonne a 
stager now ? an enghle for players ? a gull ? a 

Scer.e II. Q, Scena Secunda. 
I F adds Ovid Junior . 



sciNriij poeta0ter 15 

rooke? a shot-clogge ? to make suppers, and bee »o 
laught at ? Publius, I will set thee on the fun- 
erall pile, first. 

Ovid jun. Sir, I beseech you to have patience. 

Luscus. Nay, this tis to have your eares damm'd 
up to good counsell. I did augure all this to him as 
afore-hand, without poring into an oxes panch for 
the matter, and yet he would not be scrupulous. 

Tucca. How now, good man slave ? what, 
rowle powle ? all rivalls, rascall ? why my Mas- 
ter, of worship, do'st heare ? Are these thy best 30 
projects ? is this thy desseignes and thy discipline, 
to suffer knaves to bee competitors with com- 
manders and gentlemen? are wee paralells, ras- 
call ? are wee paralells. 

Ovid sen. Sirrah, goe get my horses ready. 35 
You'll still be prating. 

Tuc, Doe, you perpetuall stinkard, doe, goe, 
talke to tapsters and ostlers, you slave, they are i* 
your element, goe : here bee the Emperours cap- . 
taines, you raggamuffin rascall; and not your 40 
cam'rades. 

Lupus. Indeed, Marcus Ovid, these players are 
an idle generation, and doe much harme in a 
state, corrupt yong gentrie very much, I know 

29-30 my Master ^ oftvorship. Q, my Knight of worshippc. 
33 gentlemen. Q, gentmen. 

41 cam'rades. Q, Comrades. l6i6, U. of P., camradcs. 

42 Marcus Ovid. Q, Sir Marcus Ovid. 



1 6 pofta0ter [acti. 

it : I have not beene a Tribune thus long, and 45 
observ'd nothing: besides, they will rob us, us, 
that are magistrates, of our respect, bring us upon 
their stages, and make us ridiculous to the ple- 
beians; they will play you, or me, the wisest men 
they can come by still ; me : only to bring us in 5° 
contempt with the vulgar, and make us cheape. 

Tuc, Th'art in the right, my venerable crop- 
shin, they will indeede : the tongue of the oracle 
never twang'd truer. Your courtier cannot kisse 
his mistris slippers, in quiet, for *hem : nor your 55 
white innocent gallant pawne his revelling sute, 
to make his punke a supper. An honest decayed 
commander, cannot skelder, cheat, nor be scene 
in a bawdie house, but he shall be straight in one 
of their wormewood comoedies. They are growne 60 
licentious, the rogues; libertines, flat libertines. 
They forget they are i' the statute, the rascals, 
they are blazond there, there they are trickt,they 
and their pedigrees; they neede no other heralds, 
Iwisse. 65 

Ovid sen. Mee thinkes, if nothing else, yet 
this alone, the very reading of the publike edicts 
should fright thee from commerce with them; 
and give thee distaste enough of their actions. 
But this betrayes what a student you are : this 7° 
argues your proficiencie in the law. 

55 ^hem. 1 61 6, U. of P, and Q, 'hem with comma. 
67 alone. Q, and i6i6, U. of P., with semi-colon. 



Scene II.] ^Ott^MX 1 7 

Ovid jun. They wrong mee, sir, and doe 
abuse you more, 
That blow your eares with these untrue reports. 
I am not knowne unto the open stage. 
Nor doe I traffique in their theaters. 75 

Indeed, I doe acknowledge, at request 
Of some neere friends, and honorable Romanes, 
I have begunne a poeme of that nature. 

Ovid sen. You have, sir, a poeme ? and where 
is*t ? that's the law you studie. 8® 

Ovid jun. Cornelius Gallus borrowed it to 
reade. 

Ovid sen. Cornelius Gallus ? There's another 
gallant, too, hath drunke of the same poison : and 
Tibullus, and Propertius. But these are gentle- 85 
men of meanes, and revenew now. Thou art 
a yonger brother, and hast nothing, but thy bare 
exhibition : which I protest shall bee bare indeed, 
if thou forsake not these unprofitable by-courses, 
and that timely too. Name me a profest poet, 9° 
that his poetrie did ever afford him so much as 
a competencie. I, your god of poets there (whom 
all of you admire and reverence so much) Homer, 
he whose worme-eaten statue must not bee spewd 
against, but with hallowed lips, and groveling 95 
adoration, what was he? what was he.? 

77 netre. 1640, meere. 86 rcveneiv. Q, Rcvencwesj 

1640, revencws. 



1 8 ^omattt [actl 

Tuc. Mary, Pie tell thee, old swaggrcr ; He 
was a poore, blind, riming rascall, that liv*d 
obscurely up and downe in boothes, and tap- 
houses, and scarce ever made a good mcalc inio(^ 
his sleepe, the whoorson hungrie begger. 

Ovid sen. He saies well : Nay, I know this 
nettles you now, but answere me ; Is't not true ? 
you'le tell me his name shall live ; and that (now 
being dead) his workes have cternis'd him, and^^S 
made him divine. But could this divinitie feed 
him, while he liv'd? Could his name feast him? 

Tuc. Or purchase him a senators revenue ? 
could it? 

Ovid sen. I, or give him place in the common-"® 
wealth ? worship, or attendants ? make him be 
carried in his litter ? 

Tuc. Thou speakest sentences, old Bias. 

Lup. All this the law will doe, yong sir, if 
youle follow it. 115 

Ovid sen. If he be mine, hee shall follow and 
observe, what I will apt him too, or, I professe 
here openly, and utterly to disclaime in him. 

Ovid jun. Sir, let me crave you will, forgoe 
these moodes ; 
I will be any thing, or studie any thing: 120 

103 h^t not true. Q, Is't not true ? Is't not true ? 

108-12 Or . . . litter. Q omits. 

114-58 All . . . old hoy. Q omits. Il8 in. 1640 omits. 



sciNE LI] poetaster 19 

rie prove the unfashion'd body of the law 
Pure elegance, and make her ruggedst straines 
Runne smoothly, as Propertius elegies. 

Ovid sen. Propertius elegies ? good ! 

Lup. Nay, you take him too quickly, Marcus. 115 

Ovid sen. Why, he cannot speake, he cannot 
thinke out of poetrie, he is bewitcht with it. 

Lup. Come, doe not mis-prize him. 

Ovid sen. Mis-prize? I, mary, I would have 
him use some such wordes now: They have 130 
some touch, some taste of the law. Hee should 
make himselfe a stile out of these, and let his 
Propertius elegies goe by. 

Lup. Indeed, yong Publius, he that will now 
hit the marke, must shoot thorough the law, we ^35 
have no other planet raignes, & in that spheare, 
you may sit, and sing with angels. Why, the 
law makes a man happy, without respecting any 
other merit : a simple scholer, or none at all may 
be a lawyer. 140 

Tuc. He tells thee true, my noble Neophyte; 
my little Grammaticaster, he do's : It shall never 
put thee to thy Mathematiques, Metaphysiques, 
Philosophie, and I know not what suppos'd 
sufficiencies ; If thou canst but have the patience 145 
to plod inough, talke, and make noise inough, be 
impudent inough, and 'tis inough. 

Lup. Three bookes will furnish you. 



20 poetaflfter [acti. 

Tuc, And the lesse arte, the better : Besides, 
when it shall be in the power of thy chev'rilhso 
conscience, to doe right, or wrong, at thy pleas- 
ure, my pretty Alcibiades. 

Lup. I, and to have better men then himselfe, 
by many thousand degrees, to observe him, and 
stand bare. iss 

Tuc. True, and he to carry himselfe proud, 
and stately, and have the law on his side for't, 
old boy. 

Ovid sen. Well, the day growes old, gentle- 
men, and I must leave you. Publius, if thou wilt i6o 
hold my favour, abandon these idle fruitlesse 
studies that so bewitch thee. Send Janus home 
his back-face againe, and looke only forward to 
the law: Intend that. I will allow thee, what 
shall sute thee in the ranke of gentlemen, and 165 
maintaine thy societie with the best : and under 
these conditions, I leave thee. My blessings 
light upon thee, if thou respect them : if not, 
mine eyes may drop for thee, but thine owne 
heart wil ake for it selfe; and so farewel. What, 170 
are my horses come? 

Lusc. Yes, sir, they are at the gate without. 

Ovid sen. That's well. Asinius Lupus, a 
word. Captaine, I shall take my leave of you ? 

162 he-witch. Q, traduce. 

164 laiv : Intend that. Some copies 1616 punctuate thus: 



Scene n.l ^OttUmt 21 

Tuc. No, my little old boy, dispatch with 175 
Cothurnus there: I'le attend thee, I — — 

Lusc. To borrow some ten drachmes, I know 
his project. 

Ovid sen. Sir, you shall make me beholding 
to you. Now Captaine Tucca, what say you. 180 

Tuc. Why, what should I say ? or what can I 
say, my flowre o' the order ? Should I say, thou 
art rich ? or that thou art honorable ? or wise ? 
or valiant ? or learned ? or liberall ? Why, thou 
art all these, and thou knowest it (my noble 185 
Lucullus) thou knowest it : come, bee not ashamed 
of thy vertues, old stumpe. Honour's a good 
brooch to weare in a mans hat, at all times. 
Thou art the man of warres Mecoenas, old boy. 
Why shouldst not thou bee grac't then by them, 190 
as well as hee is by his poets? How now, my 
carrier, what newes ? 

Lusc. The boy has staled within for his cue, 
this halfe houre. 

[_Enter Pyrgus."] 

Tuc. Come, doe not whisper to me, but speake 195 
it out : what ? it is no treason against the state, 
I hope, is't? 

Lusc. Yes, against the state of my masters 
purse. 

175 oU hoy. Q, knight errant. 

176 Cothurnus. Q, Cavalier Cothurnus. 

182 my. . . order. Q, my most Magnanimous Mirror of 
Knighthood. 189 old boy. (^, knight. 



22 poftafliter [act i. 

Pyrgus. Sir, Agrippa desires you to forbearcaoo 
him till the next weeke : his moyles are not yet 
come up. 

Tuc. His moyles? now the hots, the spavin, 
and the glanders, and some dozen diseases more, 
light on him, and his moyles. What ha' they the 205 
yellowes, his moyles, that they come no faster } 
or are they foundred ? ha ? his moyles ha' the 
staggers belike : ha' they ? 

Pyrg. O no, sir : then your tongue might be 
suspected for one of his moyles. no 

Tuc. Hee owes mee almost a talent, and hee 
thinks to beare it away with his moyles, does hee ? 
Sirrah, you, nut-cracker, goe your waies to him 
againe, and tell him I must ha' money, I : I can- 
not cate stones and turfes, say. What, will he 215 
clem me, and my followers ? Aske him, an' he 
will clem me : doe, goe. He would have mee frie 
my jerkin, would hee ? Away, setter, away. Yet, 
stay, my little tumbler: this old boy shall supply 
now. I will not trouble him, I cannot bee im-220 
portunate, I : I cannot bee impudent. 

Pyrg. Alas, sir, no ; you are the most maidenly 
blushing creature upon the earth. 

Tuc. Do'st thou heare, my little sixe and fiftie, 
or thereabouts ? Thou art not to learne the hu-225 
mours and tricks of that old bald cheater, Time : 

219 this old boy. Q, the Knight. 



Scent n.] ^OmtSttt 23 

thou hadst not this chaine for nothing. Men of 
worth have their chymaera's, as well as other 
creatures : and they doe see monsters, some- 
times : they doe, they doe, brave boy, ^3° 

Pyrg. Better cheape then he shall see you, I 
warrant him, 

Tuc. Thou must let me have sixe, sixe, 
drachmes, I meane, old boy; thou shalt doe it*. 
I tell thee, old boy, thou shalt, and in private 23 5 
too, do'st thou see .? Goe, waike off; there, there. 
Sixe is the summe. Thy sonn's a gallant sparke, 
and must not be put out of a sudden : come 
hither, Callimachus, thy father tells me thou art 
too poeticall, boy, thou must not be so, thou 240 
must leave them,yong novice, thou must, they 
are a sort of poore starv'd rascalls ; that are 
ever wrapt up in foule linnen ; and can boast 
of nothing but a leane visage, peering out of a 
seame-rent sute;the very emblemes of beggerie. 245 
No, dost heare ? turne lawyer. Thou shalt be 
my solicitor : Tis right, old boy, ist .? 

130 brave hoy. Q omits. 

239 Callimachusy thy. Some copies of 1616 and also Q print 
Callimachus. Thy 

240 bey. Q, Slaue. so Q and some copies of 161 6 print colon 

241 must f they. Q and some copies of 16 16 print Novice; thou 
must : They. 

242 staw'd. Some copies of 1616, starved. 

243 linnen. Q and some copies of 1 616 with colon. 

246 No J . . . lawyer. Q and some copies of 1 61 6 : No: . . . 
Lawyer. 247 istf Q and some copies of 161 6 : Ist ? 



24 ^mmt [actl 

Ovid sen. You were best tell it, Captaine. 

T'uc. No : fare thou well mine honest horse- 
man, and thou old bever. Pray thee Romane,2so 
when thou commest to towne, see me at my 
lodging, visit me sometimes : thou shalt be wel- 
come, old boy. Doe not balke me, good swag- 
gerer. Jove keepe thy chaine from pawning, 
goe thy waies, if thou lack money, Tie lend theeiss 
some: I'lc leave thee to thy horse, now. Adieu. 

Ovid sen. Farewell, good Captaine. 

Tuc. Boy, you can have but halfe a share 
now, boy. \_Exeunf Tucca and Pyrgus.'\ 

Ovid sen. 'Tis a strange boldnesse, that ac-260 
companies this fellow: Come. 

Ovid jun. rie give attendance on you, to your 
horse, sir, please you — 

Ovid sen. No : keepe your chamber, and fall 
to your studies ; doe so : the gods of Rome blesse265 
thee. \Exeunt Ovid Senior , Lupus and Luscus.] 

Ovid Jun. And give me stomacke to digest this 
law. 
That should have followed sure, had I beene he. 
O sacred poesie, thou spirit of artes, 
The soule of science, and the queene of soules, 270 
What prophane violence, almost sacriledge. 
Hath here beene offered thy divinities ! 

249-50 horse-man. Q, Knight. 250 Romane. Q, Knight. 
259 noiv, boy. Q, Extt. 266 thee. Q, Exeunt. 

269 of artes. 1 640, of Romane Arts, following the reading of 
some copies of 1 6 1 6. 



Scene II.] J^Oeta^tet 25 

That thine owne guiltlesse povertie should arme 
Prodigious ignorance to wound thee thus ! 
For thence, is all their force of argument 275 

Drawne forth against thee ; or from the abuse 
Of thy great powers in adultrate braines : 
When, would men learne but to distinguish 

spirits, 
And set true difference twixt those jaded wits 
That runne a broken pase for common hire, 280 
And the high raptures of a happy muse. 
Borne on the wings of her immortall thought. 
That kickes at earth with a disdainefuU heele, 
And beats at heaven gates with her bright hooves ; 
They would not then with such distorted faces, 285 
And desp'rate censures stab at poesie. 
They would admire bright knowledge and their 

minds 
Should ne're descend on so unworthy objects. 
As gold, or titles : they would dread farre more. 
To be thought ignorant, then be knowne poore.290 
" The time was once, when wit drown*d wealth: 

but now, 
" Your onely barbarisme is t'have wit, and want. 
" No matter now in vertue who excells, 
" He, that hath coine, hath all perfection else. 



273 That. Q, Hmh! that. 281 muse. Q, Soule. 

286 desp'rate. Q, dudgeon, 

292 barbarisme is C ha've. Q, Barbarism's, to haue. 



26 ^oetasftet [actl 

Act I. Scene III. 

\The Same.] 
Tibullus [enters to] Ovid. 

Tibullus. Ovid? 

Ovid. Who's there ? Come in. 

Tib. Good morrow, Lawyer. 

Ovid. Good morrow (deare Tibullus) wel- 
come : sit downe. 

Tib. Not I. What : so hard at it ? Let's see, 
what's here ? 
Nay, I will see it 



Ovid. Pray thee away 



Ttb. If thrice in field^ a man vanquish his foe ^ 5 
* T'ts after in his choice to serve .^ or no. 
How now Ovid ! Law-cases in verse? 

Ovtd. In troth, I know not : they runne from 
my pen 
Unwittingly, if they be verse. What's the newes 
abroad ? 
Tib. Off with this gowne, I come to have 

thee walke. ic 

Ovid. No,goodTibullus,rm not now in case, 
Pray' let me alone. 

Sctne III Q, Scena Tertia. 

3-4 •what' I . . it. Q, Whats here ? Numa in dccimo 
nono ? O'vid. Pray thee away. 

4 Pray thee. 1640, pr'y thee. 12 Pray' let. Q, Pray thee let. 



Scene IH.) ^OttUmt ZJ 

Tib, How? not in case ! 

S'light thou'rt in too much case, by all this law. 
Ovid, Troth, if I live, I will new dresse the 
law, 
In sprightly poesies habillaments. 15 

Tib, The hell thou wilt. What, turne law into 
verse ? 
Thy father has school'd thee, I see. Here, reade 

that same. 
There's subject for you : and if I mistake not, 
A Supersedeas to your melancholy. 

Ovid, How ! subscrib'd Julia ! o, my life, my 

heaven I 20 

Tib. Is the mood chang'd ? 
Ovid. Musique of wit ! Note for th'harmo- 
nious sphearcs ! 
Celestiall accents, how you ravish me ! 
Tib. What is it, Ovid. 
Ovid. That I must meete my Julia, the Prin- 

cesse Julia. 25 

Tib. Where? 
Ovid. Why, at — hart, I have forgot: my 

passion so transports mee. 
Tib. He save your paines : it is at Albius house. 
The jewellers, where the faire Lycoris lies. 
Ovid. Who ? Cytheris, Cornelius Gallus 
love ? 30 

15 habillaments. Q, Acoutrcmcnts. 



28 ^Om&ttt [Act I. 

Tib. I, heele be there too, and my Plautia. 

Ovid. And why not your Delia? 

Tih. Yes, and your Corinna. 

Ovid. True, but my sweet Tibullus, keepe 
that secret : 
I would not, for all Rome, it should be thought, 35 
I vaile bright Julia underneath that name : 
Julia the gemme, and Jewell of my soule. 
That takes her honours from the golden skie. 
As beautie doth all lustre, from her eye. 
The ayre respires the pure elyzian sweets, 4® 

In which she breathes : and from her lookes de- 
scend 
The glories of the summer. Heaven she is, 
Prays'd in her selfe above all praise : and he, 
Which heares her speake, would sweare the tune- 
full orbes 
TurnM in his zenith onely. 

Tib. Publius, thou'lt lose thy selfe. 45 

Ovid. O, in no labyrinth, can I safelier erre, 
Then when I lose my selfe in praysing her. 
Hence Law, and welcome, Muses ; though not 

rich. 
Yet are you pleasing : let's be reconcilde, 
And now made one. Hencefoorth, I promise 

faith, 50 

40 elyxian. Q, 1616 U. of P., elyzium. 
50 noiv. Q, and 1616, U. of P. new. 



scENiin.] poetas^ter 29 

And all my serious houres to spend with you : 
With you, whose musicke striketh on my heart, 
And with bewitching tones steales forth my 

spirit, 
In Julias name; faire Julia: Julias love 
Shall be a law, and that sweet law I'le studie, 55 
The law, and art of sacred Julias love: 
All other objects will but abjects proove. 

Tib. Come, wee shall have thee as passionate, 
as Propertius, anon. 

Ovid. O, how does my Sextus? 60 

Tib. Faith, full of sorrow, for his Cynthias 
death. 

Ovid. What, still ? 

Tib. Still, and still more, his grieves doe grow 
upon him. 
As doe his houres. Never did I know 65 

An understanding spirit so take to heart 
The common worke of fate. 

Ovid. O my Tibullus, 

Let us not blame him : for, against such chances. 
The heartiest strife of vertue is not proofe. 
We may read constancie, and fortitude, 7^ 

To othersoules : but had ourselves beene strooke 
With the like planet, had our loves (like his) 
Beene ravisht from us, by injurious death. 
And in the height, and heat of our best dayes. 
It would have crackt our sinnewes, shrunke our 

veines, 75 



30 poeta0ter [act i. 

And made our verie heart-strings jarre, like his. 
Come, let's goe take him foorth, and proove, if 

mirth 
Or companie will but abate his passion. 

Tib. Content, and I implore the gods, it may. 

[Exeunt.'\ 

79 // may. Q, Exeunt. Finis Actus Primi. 



Act 11. Scene I. 

\A Room in the House of Albius,'\ 
Albius \jo him enters^ Crispinus. 

Jlb'ius. Master Crispinus, you are welcome : 
Pray*, use a stoole,sir. Your cousin Cytheris will 
come downe presently. Wee are so busie for 
the receiving of these courtiers here, that I can 
scarce be a minute with my selfe, for thinking of 5 
them : Pray you sit, sir. Pray you sit, sir. 

Crispinus. I am verie well, sir. Ne're trust 
me, but you are most delicately seated here, full 
of sweet delight and blandishment ! an excellent 
ayre, an excellent ayre ! lo 

Jib, I, sir, 'tis a prettie ayre. These courtiers 
runne in my minde still ; I must looke out : for 
Jupiters sake, sit, sir. Or please you walke into 
the garden ? There's a garden on the back-side. 

Cris. I am most strenuously well, I thanke 15 
you, sir. 

Jib. Much good doe you, sir. [Exit.'] 

[Enter Chloe and two maids.] 

Chloe. Come, bring those perfumes forward a 
little, and strew some roses, and violets here ; 

Act II. Scene I. Q, Actus Secundus. Scena Prima. 
Albiui . . . Crisptnus. F adds CA/oef MayJes, Cytheris. 
X7 Exit. Q. 



32 pof taster [actii. 

Fye, here bee roomes savour the most pittifully 20 
ranke that ever I felt : I crie the gods mercie, my 
husband's in the winde of us. [Re-enter JIbius.l 

Jib. Why, this is good, excellent, excellent : 
well said, my sweet Chloe. Trimme up your 
house most obsequiously. ^S 

Chlo. ¥ov Vulcanus sake, breathe somewhere 
else : in troth you overcome our perfumes ex- 
ceedingly, you are too predominant. 

Jib. Heare but my opinion, sweet wife. 

Chlo. A pinne for your pinnion. In sinceritie, 30 
if you be thus fulsome to me in everie thing, I'lc 
bee divorc't ; Gods my bodie ? you know what 
you were, before I married you ; I was a gentle- 
woman borne, I ; I lost all my friends to be a 
citizens wife; because I heard indeed, they kept 35 
their wives as fine as ladies ; and that wee might 
rule our husbands, like ladies ; and doe what wee 
listed : doe you thinke I would have married you, 
else ? 

Jib. I acknowledge, sweet wife, she speakes 40 
the best of any woman in Italy, and mooves as 
mightily : which makes me, I had rather she 
should make bumpes on my head, as big as my 
two fingers, then I would offend her. But sweet 
wife — 45 

Chlo. Yet againe ? I'st not grace inough for 

26 yulcanus, 2> Vulcancs. 



Scene I.l ^OmUtt 33 

you, that I call you husband, and you call me 
wife : but you must still bee poking mee, against 
my will, to things ? 

J/h. But you know, wife ; here are the great- 50 
est ladies, and gallantest gentlemen of Rome, to 
bee entertain'd in our house now : and I would 
faine advise thee, to entertaine them in the best 
sort, yfaith wife. 

Ch/o, In sinceritie, did you ever heare a man 55 
taike so idlely ? You would seeme to be master ? 
You would have your spoke in my cart ? you 
would advise me to entertaine ladies, and gen- 
tlemen ? because you can marshall your pack- 
needles, horse-combes, hobby-horses, and wall- 60 
candlestickes in your ware-house better then I ; 
therefore you can tell how to entertaine ladies, 
and gentle-folkes better then I ? 

j^/b. O my sweet wife, upbraid me not with 
that : " Gaine savours sweetly from any thing ; 65 
He that respects to get, must relish all commod- 
ities alike ; and admit no difference betwixt oade, 
and frankincense ; or the most precious balsam- 
um, and a tar-barrell. 

Cblo. Mary fough : You sell snuffers too, if 70 
you be remembred, but I pray you let mee buy 
them out of your hand ; for I tell you true, I 
take it highly in snuffe, to learne how to enter- 
taine gentlefolkes, of you, at these yeeres, I faith. 



34 J0oeta«er [acth 



1 



Alas man ; there was not a gentleman came to 75 
your house i' your tother wives time, I hope ? 
nor a ladie ? nor musique ? nor masques ? Nor 
you, nor your house were so much as spoken of, 
before I disbast my selfe, from my hood and my 
fartingall, to these bumrowles, and your whale- 80 
bone-bodies. 

Jib. Looke here, my sweet wife ; I am mum, 
my deare mummia, my balsamum, my spermacete, 
and my verie citie of — shee has the most best, 
true, faeminine wit in Rome ! 85 

Cris. I have heard so, sir ; and doe most ve- 
hemently desire to participate the knowledge of 
her faire features. 

Jib. Ah, peace ; you shall heare more anon : 
bee not seene yet, I pray you ; not yet : Observe. 9° 

Chlo. 'Sbodie, give husbands the head a little 
more, and they'll bee nothing but head shortly ; 
whats he there ? 

1st Maid. I know not forsooth. 

2d Maid. Who would you speake with, sir? 95 

Cris. I would speake with my cousin Cyth- 
eris. 

2d Maid. Hee is one forsooth would speake 
with his cousin Cytheris. 

83 mummia. Q, Mumma. spermacete. Q, Sperma Cete, Sc. 
90 Observe. Q, Exit. 91 'Sbodie. 1640 omits. 



Scene I.] ^OttSLittt 35 

Ch/o. Is she your cousin, sir ? loo 

Cris. Yes in truth, forsooth, for fault of a bet- 
ter. 

Chio. Shee is a gentlewoman ? 

Cris. Or else she should not be my cousin, I 
assure you. 105 

Ch/o, Are you a gentleman borne ? 

Cris. That I am, ladie ; you shall see mine 
armes, if't please you. 

Ch/o. No, your legges doe sufficiently shew 
you are a gentleman borne, sir: for a man borne no 
upon little legges, is alwayes a gentleman borne. 

Cris. Yet, I pray you, vouchsafe the sight of 
my armes, Mistresse ; for I beare them about 
me, to have 'hem seene: my name is Crispinus, 
or Cri-spinas indeed; which is well exprest inns 
my armes, (a Face crying in chief e ; and beneath 
it a blouddie Toe, betweene three Thornes pun- 
gent.) 

Ch/o. Then you are welcome, sir; now you 
are a gentleman borne, I can find in my heart to 120 
welcome you : for I am a gentlewoman borne 
too ; and will beare my head high inough, though 
'twere my fortune to marrie a trades-man. 

Cris. No doubt of that, sweet feature, your 
carriage shewes it in any mans eye, that is car- 125 
ried upon you with judgement. 

123 trades-man. Q, Flat-cappe, 
124-26 A^o . . .judgement. Q omirt. 



36 pof taster (act n. 

Hee is still going in and out. 

Jib. Deare wife, be not angry. 

Chlo. God's my passion ! 

Jib. Heare me but one thing; let not your 
maydes set cushions in the parlor windowes ; no 
nor in the dyning-chamber windowes ; nor upon 
stooles, in eyther of them, in any case ; for *tis 
taverne-like •, but lay them one upon another, 
in some out-roome, or corner of the dyning- 
chamber. '35 

Chlo. Goe, goe, meddle with your bed-cham- 
ber onely, or rather with your bed in your 
chamber, onely ; or rather with your wife in your 
bed onely ; or on my faith, I'le not be pleas'd 
with you onely. 140 

Jib. Looke here, my deare wife, entertaine that 
gentleman kindly, I pre'thee; — mum. \^Exit.^ 

Chlo. Goe, I need your instructions indeede ; 
anger mee no more, I advise you. Citi-sin, 
quoth'a! she's a wise gentlewoman yfaith, wilP4S 
marrie her selfe to the sinne of the citie. 

Jib. But this time, and no more (by heaven) 
wife : hang no pictures in the hall, nor in the 
dyning-chamber, in any case, but in the gallerie 
onely, for 'tis not courtly else, o'my word, wife. 150 

Chlo. 'Sprecious, never have done ! 

Jib. Wife. [Exit.-] 

Hee . . . out. Q, omits. 142 Q, Exit. 1 50 o^tny. Q, on my. 
152 fVife. Q, Exit. 



Scene I] ^Om^ttt 37 

Cb/o. Doe I not beare a reasonable corrigible 
hand over him, Crispinus? 

Cris. By this hand, ladie, you hold a mostiSS 
sweet hand over him. 

Jib. And then for the great gilt andyrons ? — 

Chlo. Againe ! would the andyrons were in 
your great guttes, for mee. 

Jlk I doe vanish, wife. \_Ex/f.] '^o 

Cb/o. How shall I doe. Master Crispinus ? 
here will bee all the bravest ladies in court pre- 
sently, to see your cousin Cytheris : O the gods ! 
how might I behave my selfe now, as to enter- 
tayne them most courtly ? ^^5 

Cris. Mary, ladie, if you will entertaine them 
most courtly, you must doe thus : as soone as 
ever your maide, or your man brings you word 
they are come; you must say (A poxe on 'hem, 
what doe they here.) And yet when they come, 170 
speake them as faire, and give them the kindest 
welcome in wordes, that can be. 

Cb/o. Is that the fashion of courtiers, Cris- 
pinus ? 

Cris. I assure you, it is, ladie, I have ob-^75 
serv'd it. 

Cb/o. For your poxe, sir, it is easily hit on; 
but, 'tis not so easily to speake faire after, me 
thinkes ? 

160 wife. Q, Exit 1 77 on. Q, upon. 

178 easi/y. C^, 1640, easie. 



38 J^Oftaflftf r (Act II. 

Jib. O wife, the coaches are come, on my 180 
word, a number of coaches, and courtiers. 

Chlo. A poxe on them : what doe they here t 

Jib. How now wife ! wouldst thou not have 
'hem come ? 

Chlo. Come ? come, you area foole, you : He 185 
knowes not the trick on't. Call Cytheris, I pray 
you: and good master Crispinus, you can ob- 
serve, you say ; let me intrcat you for all the 
ladies behaviours, jewels, jests, and attires, that 
you marking as well as I, we may put both our 190 
markes together, when they are gone, and con- 
ferre of them. 

Cris. I warrant you, sweet ladie ; let mee alone 
to observe, till I turne my selfe to nothing but 
observation. j^, 

[^Enter Cytheris.^ 
Good morrow cousin Cytheris. 

Cytheris. Welcome kind cousin. What? are 
they come ? 

Alb. I, your friend Cornelius Gallus, Ovid, 
Tibullus, Propertius, with Julia the Emperors 100 
daughter, and the ladie Plautia, are lighted at 
the dore ; and with them Hermogenes Tigellius, 
the excellent musician. 

Cyth. Come, let us goe meet them, Chloe. 

Chlo. Observe, Crispinus. 105 

Cris, At a haires breadth, ladie, I warrant you. 



scrNi II.] poetafifter 39 

Act II. Scene II. 

[77?^ Same,~\ 

\Enter^ Gallus^ Ovid, Tibullusy PropertiuSy Hermo- 
genesy Julidy Plautia, [/<?] CytheriSy Chloey Albiusy 
Crispinus. 

Gallus. Health to the lovely Chloe: you must 
pardon me, Mistris, that I preferre this faire 
gentlewoman. 

Cytheris. I pardon, and praise you for it, sir; 
and I beseech your Excellence, receive her 5 
beauties into your knowledge and favour. 

Julia. Cytheris, shee hath favour, and be- 
haviour, that commands as much of me: and 
sweet Chloe, know I doe exceedingly love you, 
and that I will approve in any grace my father 10 
the Emperour may shew you. Is this your hus- 
band ? 

Albius. For fault of a better, if it please your 
highnesse. 

Chloe. Gods my life ! how hee shames mee 1 15 

Cyth. Not a whit, Chloe, they all thinke 
you politike, and wittie; wise women choose 
not husbands for the eye, merit, or birth, but 
wealth, and soveraigntie. 

Scene II. Q, Scena Sccunda. 



40 ^Ottnmt [Act U. 

Ovid. Sir, we all come to gratulate, for the 20 
good report of you. 

Tibullus. And would be glad to deserve your 
love, sir. 

Jib. My wife will answere you all, gentlemen ; 
rie come to you againe presently. \_Exit.^ 25 

Plautia. You have chosen you a most faire 
companion here, Cytheris, and a very faire house. 

Cyth. To both which, you and all my friends, 
are very welcome, Plautia. 

Chlo. With all my heart, I assure your ladi- 30 
ship. 

Plan. Thankes, sweet Mistris Chloe. 

^ul. You must needes come to court, ladie, 
yfaith, and there bee sure your welcome shall be 
as great to us. 35 

Ovid. Shee will well deserve it, Madame. I 
see, even in her lookes, gentrie, and generall 
worthinesse. 

Tib. I have not seene a more certaine char- 
acter of an excellent disposition. 40 

Alb. \^Re-entering.'\ Wife. 

Chlo, O, they doe so commend me here, the 
courtiers! what's the matter now? 

Alb. For the banquet, sweet wife. 

Chlo. Yes; and I must needs come to court, 45 
and bee welcome, the Princesse sayes. \Exit^ 

2 5 prtitntly. Q, Exit. 46 sayei. Q, Exit. 



sciNiiL] poetaster 41 

Gal. Ovid, and Tibullus, you may bee bold 
to welcome your Mistresses herCc 

Ovid. We find it so, sir. 

Tib. And thanke Cornelius Gallus. 50 

Ovid. Nay, my sweet Sextus, in faith thou 
art not sociable. 

Propertius. Infaith, I am not, Publius; nor I 
cannot. 
Sicke mindes, are like sicke men that burne with 

fevers. 
Who when they drinke, please but a present tast, 5s 
And after beare a more impatient fit. 
Pray, let me leave you; I offend you all, 
And my selfe most. 

Gal. Stay, sweet Propertius. 

Tib. You yeeld too much unto your grieves, 
and fate. 
Which never hurts, but when we say it hurts us. 60 

Prop. O peace, Tibullus; your philosophie 
Lends you too rough a hand to search my wounds. 
Speake they of griefes, that know to sigh, and 

grieve ; 
The free and unconstrained spirit feeles 
No weight of my oppression. \_Exit.'^ 

Ovid. Worthy Roman ! 65 

Me thinkes I taste his miserie; and could 
Sit downe, and chide at his malignant starres. 

55 present. Q, Hngring. 65 oppression. Q, Exit. 



42 poeta0trr [act h. 

y«/. Me thinkes I love him, that he loves so 
truely. 

Cyth. This is the perfect*st love, lives after 7° 
death. 

Gal. Such is the constant ground of vertue 
still. 

Plan. It puts on an inseparable face. 

Chlo. \^Re-entering.'\ Have you markt every 75 
thing, Crispinus? 

Crispinus. Every thing, I warrant you. 

Chlo. What gentlemen are these ? doe you 
know them ? 

Cris. I, they are poets, lady. 8o 

Chlo. Poets ? they did not talke of me since I 
went, did they? 

Cris. O yes, and extold your perfections to 
the heavens. 

Chlo. Now in sinceritie, they be the finest kind 85 
of men, that ever I knew : Poets ? Could not one 
get the Emperour to make my husband a Poet, 
thinke you ? 

Cris. No, ladie, 'tis love, and beautie make 
Poets: and since you like Poets so well, your 90 
love, and beauties shall make me a Poet. 

Chlo. What shall they? and such a one as 
these ? 

Cris. I, and a better then these : I would be 
sorry else. 95 



sctNE ii.i ^ottnmt 43 

Chlo. And shall your lookes change ? and your 
haire change? and all, like these? 

Cris. Why, a man may be a Poet, and yet not 
change his haire, lady. 

Ch/o. Well, wee shall see your cunning: yet loo 
if you can change your haire, I pray, doe. 

j4/b. [Re-entering.'] Ladies, and lordings, 
there's a slight banquet staies within for you, 
please you draw neere, and accost it. 

Jul. We thanke you, good Albius: but when 105 
shall wee see those excellent jewels you are com- 
mended to have? 

Jib. At your ladiships service. I got that 
speech by seeing a play last day, and it did me 
some grace now : I see, 'tis good to collect some- no 
times; rie frequent these plaies more then I have 
done, now I come to be familiar with courtiers. 

Gal. Why, how now, Hermogenes ? what ail- 
est thou trow? 

Hermogenes. A little melancholy, let me alone, 115 
pray thee. 

Gal. Melancholy ' how so ? 

Herm. With riding: a plague on all coaches 
for me. 

Chlo. Is that hard-favour'd gentleman a poet 120 
too ; Cytheris ? 

Cyth. No ; this is Hermogenes, as humorous 
as a poet though : he is a Musician. 

116 pray thee. 1 640, pr'y thee. 



44 ^OttU^ttt [Act II. 

Chlo. A Musician ? then he can sing. 

Cyth. That he can excellently; did you never 125 
heare him? 

Chlo. O no : will he be intreated, thinke you ? 

Cyth. I know not. Friend, Mistresse Chloe 
would faine heare Hermogenes sing : are you 
interested in him? 130 

Gal. No doubt, his owne humanitie will com- 
mand him so farre, to the satisfaction of so faire 
a beautie; but rather then faile, weele all bee 
suiters to him. 

Herm. 'Cannot sing. 135 

Gal. Pray thee, Hermogenes. 

Herm. 'Cannot sing. 

Gal. For honour of this gentlewoman, to whose 
house, I know thou maist be ever welcome. 

Chlo. That he shall in truth, sir, if he can sing. 140 

Ovid. What's that ? 

Gal. This gentlewoman is wooing Hermo- 
genes for a song. 

Ovid. A song ? come, he shall not denie her. 
Hermogenes ? HS 

Herm. 'Cannot sing. 

Gal. No, the ladies must doe it, hee staies but 
to have their thankes acknowledg'd as a debt to 
his cunning. 

Jul. That shall not want : our selfe will be 15° 
the first shall promise to pay him more then 
thankes, upon a favour so worthily vouchsaf 't. 



sciNr iLj poetaster 45 

Herm. Thanke you, Madame, but 'will not 
sing. 

Tib, Tut, the onely way to winne him, is to 155 
abstaine from intreating him. 

Oris. Doe you love singing, ladie ? 

Chlo, O, passingly. 

Cm. Intreat the ladies, to intreat me to sing 
then, I beseech you. 160 

Chlo. I beseech your grace, intreat this gentle- 
man to sing. 

Jul, That we will Chloe ; can he sing excel- 
lently ? 

Chlo, I thinke so, Madame: for he intreatedi65 
me, to intreat you, to intreat him to sing. 

Cris, Heaven, and earth ! would you tell that ? 

Jul, Good sir, let's intreat you to use your 
voice. 

Cris, Alas, Madame, I cannot in truth. 170 

Plau, The gentleman is modest : I warrant 
you, he sings excellently. 

Ovid. Hermogenes,cleere your throat : I see 
by him, here's a gentleman will worthily chal- 
lenge you. 175 

Cris. Not I, sir, I'le challenge no man. 

Tib. That's your modestie, sir : but wee, out 
of an assurance of your excellencie, challenge 
him in your behalfe. 

Cris, Ithankeyou, gentlemen, I'le doe my best. 180 

Herm, Letthat best be good, sir, you were best. 



46 POttnmt [Act II. 

Gal. O, this contention is excellent. What is't 
you sing, sir ? 

Cris. If I freely may discover., l^c. Sir, I'lc sing 
that. »85 

Ovid. One of your owne compositions, Her- 
mogenes. He offers you vantage enough. 

Crh. Nay truely, gentlemen, Tie challenge no 
man — : I can sing but one staffe of the dittic 
neither. «9o 

Gal. The better: Hermogenes himsclfe will 
bee intreated to sing the other. 

SONG. 

If I freely may disconjery 

What ivould please me in my lover : 

I ivould have her fair e^ and 'wittiey |nf 

Savouring more of courts then cittie , 

A little proud, but full of pittie ; 

Light, and humorous in her toying. 

Oft building hopes, and soone destroying. 

Long, but snveet in the enjoying, 200 

Neither too easie, nor too hard ; 

All extremes I ivould have bard. 

Gal. Beleeve me, sir, you sing most excellently. 

Ovid. If there were a praise above excellence, 
the gentleman highly deserves it. ^°5 

Herm. Sir, all this doth not yet make mee 
envie you : for I know I sing better then you. 

Tih. Attend Hermogenes, now. 

Song. Q, Cantus. I93 may. 1640, can. 198 toying. Q, with 
comma. 



sc.N.ii.1 porta^trr 47 

2. 

Shee should be allonved her passionSy aio 

So they ivere but US' d as fashions ., 

Sometimes froiuardy and then froivningy 
Sometimes stckish, and then sivoivning, 
E'very Jit, ivith change, still croivning. 
Purely jealous, I tvould ha've her, »IS 

Then onely constant ivhen I cra've her. 
' TV/ a ^ertue should not sa^ve her. 

Thus, nor her delicates nx'ould cloy me^ 

Neither her peenjishnesse annoy me. 

'Jul. Nay, Hermogenes, your merit hath long"o 
since beene both knowne, and admir'd of us. 

Herm. You shall heare me sing another: now 
will I begin. 

Gal. We shall doe this gentlemans banquet 
too much wrong, that staies for us, ladies. 225 

Jul. 'Tis true : and well thought on, Corne- 
lius Gallus. 

Herm. Why 'tis but a short aire, 'twill be 
done presently, pray'stay ; strike musique. 

Ovid. No, good Hermogenes : wee'll end this 230 
difference within. 

Jul. 'Tis the common disease of all your mu- 
sicians, [t]hat they know no meane, to be in- 
treated, either to begin, or end. 

Jib, Please you lead the way, gentles ? 235 

233 that. Q, and l6l6, U. of P. In other 1616 folios 
examinedj hat. 



48 l^oetasfter [Acm. 

Jll. Thankes, good Albius. 

\^Exeunt all except Albius."^ 

Jib. O, what a charme of thankes was here put 
upon me ! O Jove, what a setting forth it is to a 
man, to have many courtiers come to his house! 
Sweetly was it said of a good olde house-keeper; 240 
/ had rather want meate,, then want ghests : spe- 
cially, if they be courtly ghests. For, never trust 
me, if one of their good legges made in a house, 
be not worth all the good cheere, a man can 
make them. Hee that would have fine ghests, let*45 
him have a fine wife; he that would have a fine 
wife, let him come to me. 

Cris. By your kind leave. Master Albius. 

^Re-entering.l^ 

Jib, What, you are not gone. Master Cris- 
pinus ? *5o 

Cris. Yes faith, I have a desseigne drawes mc 
hence: pray* sir, fashion me an excuse to the 
ladies. 

Jib. Will you not stay ? and see the jewels, 
sir? I p[r]ay you stay. *55 

Cris. Not for a million, sir, now ; Let it suffice, 
I must relinquish ; and so in a word, please you 
to expiate this complement. 

Jib. Mum. [Exit."] 

236 All. Q, Omnes. Albius. Q, Exeunt. 

249-50 Crispinus. Q, Crispine? 

255 pray. Q is correct. 259 Mum. Q, Exit. 



sciNE n.i poetasiter 49 

Cris. He presently goe and enghle some broker, 260 
for a Poets gowne, and bespeake a garland : and 
then jeweller, looke to your best jewel yfaith. 

262 yfaiti. Q, Exit. Finis Actus Sccundi. 



Act III. Scene I. 

\rhe Via Sacra.] 

Horace. 
Hor. li. I. Sat. 9. 

Horace. Hmh ? yes ; I will begin an ode so : 
and it shall be to Mecoenas. 

\^Enter Crispinus.] 

Crispinus. *Slid, yonder's Horace ! they say 
bee's an excellent poet : Mecoenas loves him. He 
fall into his acquaintance, if I can ; I thinke he 
be composing, as he goes i' the street ! ha ? *tis 
a good humour, and he be : He compose too. 

Hor. Swell me a bowle with lustie wine^ 
Till I may see the plump Lyaus swim 

Above the brim : 
I drinke^ as I would wright. 
In flowing measure^ filPd with Jiame^ and spright. 

Oris. Sweet Horace, Minerva, and the Muses 
stand auspicious to thy desseignes. How far'st 
thou, sweetc man ? frolicke ? rich ? gallant ? ha ? 

Hor. Not greatly gallant, sir, like my fortunes ; 
well. I'm bold to take my leave, sir, you'ld 
naught else, sir, would you ? 

j^ct . . . I. Q, Actus Tertius. Scena Prima. 
Horace. Q and F, Horace^ Crispinut. 
I Hmh. 1640 Hah.^ 



Scene I.] ^OttU^ttt 5 1 

Cm. Troth, no, but I could wish thou did'st 
know us, Horace, we are a scholer, I assure lo 
thee. 

Hor. A scholer, sir ? I shall bee covetous of 
your faire knowledge. 

Cris. Gramercie, good Horace. Nay, we are 
new turn'd Poet too, which is more ; and a Satyr- 25 
ist too, which is more then that ; I write just in 
thy veine, I. I am for your odes or your ser- 
mons, or any thing indeed ; wee are a gentle- 
man besides : our name is Rufus Laberius Cris- 
pinus, we are a prettie stoick too. 30 

Hor. To the proportion of your beard, I thinke 
it, sir. 

Cris. By Phoebus, here's a most neate fine 
street, is't not ? I protest to thee, I am enamour'd 
of this street now, more then of halfe the streets 35 
of Rome,againe; 'tis so polite,and terse! There's 
the front of a building now. I studie architec- 
ture too : if ever I should build, I'de have a house 
just of that prospective. 

Hor. Doubtlesse, this gallants tongue has a 40 
good turne, when hee sleepes. 

Cris. I doe make verses, when I come in such 
a street as this : O your city-ladies, you shall 
ha'hem sit in every shop like the Muses — off- 
ring you the castalian dewes, and the thespian 45 
liquors, to as many as have but the sweet grace 



52 ^ommt [acthl 

and audacitie to — sip of their lips. Did you never 
heare any of my verses ? 

Hor. No, sir (but I am in some feare, I must, 
now.) 50 

Cris. rie tell thee some (if I can but recover 
'hem) I compos'd e'en now of a dressing, I saw 
a jewellers wife weare, who indeede was a jewel! 
her selfe : I preferre that kind of tire now, what's 
thy opinion, Horace ? 55 

Hor. With your silver bodkin, it does well, 
sir. 

Cris. I cannot tell, but it stirres me more then 
all your court-curies, or your spangles, or your 
tricks : I affect not these high gable-ends, these 60 
tuscane-tops, nor your coronets, nor your arches, 
nor your pyramid's ; give me a fine sweet — lit- 
tle delicate dressing, with a bodkin, as you say : 
and a mushrome, for all your other ornatures. 

Hor. Is't not possible to make an escape from 65 
him? 

Cris. I have remitted my verses, all this while, 
I thinke I ha' forgot 'hem. 

Hor. Here's he, could wish you had else. 

Cris. Pray Jove, I can intreat 'hem of my 70 
memorie. 

Hor. You put your memorie to too much 
trouble, sir. 

52 dressing. Q, velvet cap. 

63 delicate dressing. Q, velvet Cap. 



scTNE L] poetaster 53 

Cris. No, sweet Horace, we must not ha* thee 
thinke so. 75 

Hor, I crie you mercy j then, they are my 
eares 
That must be tortur'd : well, you must have pa- 
tience, eares. 

Cris. Pray thee, Horace, observe. 

Hor. Yes, sir: your sattin sleeve begins to 
fret at the rug that is underneath it, I doe ob- ^° 
serve: And your ample velvet bases are not 
without evident staines of a hot disposition, nat- 
urally. 

Cris. O — rie die them into another colour, 
at pleasure: how many yards of velvet dost thou ^5 
thinke they containe? 

Hor. Hart ! I have put him now in a fresh way 
To vexe me more : Faith, sir, your mercers booke 
Will tell you with more patience, then I can; 
(For 1 am crost, and so's not that, I thinke.) 90 

Cris. S'light, these verses have lost me againe: 
I shall not invite 'hem to mind, now. 

Hor. Racke not your thoughts, good sir; 
rather, deferre it 
To a new time; Tie meete you at your lodging. 
Or where you please : Till then, Jove keepe you, 

sir. 95 

81 bases. Q, hose. 
87 Hart I 1640 omit8. 



54 poetaster (act hi. 

Cris. Nay, gentle Horace, stay : I have it, 
now. 

Hor, Yes, sir. Apollo, Hermes, Jupiter, looke 
down upon me. 

Cris. Rich was thy hap^ sweety dtintie cap^ loo 
There to be placed : 
Where thy smooth blacke^ sleeke white may 
smacke^ 

And both be graced, 
white is there usurpt for her brow ; her forehead : 
and then sleeke.^ as the paralell to jwoc//;, that went ^©5 
before. A kind of Paranomasie, or Agnomination : 
doe you conceive, sir? 

Hor. Excellent. Troth, sir, I must be abrupt, 
and leave you. 

Cris. Why, what haste hast thou? pray thee, no 
stay a little: thou shalt not goe yet, by Phoebus. 

Hor. I shall not ? what remedie ? Fie, how I 
sweat with suffering! 

Cris. And then 

Hor. Pray, sir, give me leave to wipe my face 115 
a little. 

Cris. Yes, doe, good Horace. 

Hor. Thanke you, sir. 
Death' I must crave his leave to pisse anon; 
Or that I may goe hence with halfe my teeth; i^o 
I am in some such feare. This tvrannie 

100 dtintit, Q, Velvet. 119 /. Q omits. 



Scene I.] ^OttdOittt 55 

Is strange, to take mine eares up by commission, 
(Whether I will or no) and make them stalls 
To his lewd soloecismes, and worded trash. 
Happy thou, bold Bolanus, now, I say; 125 

Whose freedome, and impatience of this fellow. 
Would, long ere this, have call'd him foole, and 

foole, 
And ranke, and tedious foole, and have slung 

jests 
As hard as stones, till thou hadst pelted him 
Out of the place: whiTst my tame modestie 130 
Suffers my wit be made a solemne asse 
To beare his fopperies 

Cris. Horace, thou art miserably affected to 
be gone, I see. But — pray thee, let's prove, to 
enjoy thee awhile. Thou hast no businesse, I *35 
assure me. Whether is thv journey directed ? ha? 

Hor. Sir, I am going to visit a friend, that's 
sicke. 

Cris. A friend ? What's he ? doe not I know 
him ? 

Hor. No, sir, you doe not know him; and 'tis 
not the worse for him. 

Cris. What's his name ? where's he lodg'd ? 

115-27 Haf>p)! . . . foole. Q, 

Happy the bold Bolanus, now, I say; 

Romes Common Buffbn: His free Impudence 

Would, long ere this, have cald this fellow, Foolcj 

129 thou hadst. Q, he had. 



[40 



56 poetaster [act ra. 

Hor. Where, I shall be fearefull to draw you 
out of your way, sirj a great way hence: Pray',i4S 
sir, let's part. 

Cris. Nay, but where is't ? I pray thee, say. 

Hor. On the farre side of all Tyber yonder, 
by Caesars gardens. 

Cris, O, that's my course directly; 1 am for 150 
you. Come, goe: why stand'st thou? 

Hor. Yes, sir : marry, the plague is in that part 
of the citie; I had almost forgot to tell you, sir. 

Cris. Fow: It's no matter, I feare no pesti- 
lence, I ha' not offended Phoebus. 155 

Hor. I have, it seemes; or else this heavie 
scourge 
Could ne're have lighted on me 

Cris. Come, along. 

Hor. I am to goe downe some halfe mile, this 
way, sir, first, to speake with his physician : And 160 
from thence to his apothecary, where I shall stay 
the mixing of divers drugs 

Cris. Why, it's all one. I have nothing to 
doe, and I love not to be idle. Tie beare thee 
companie. How call'st thou the pothecary ? 165 

Hor. O, that I knew a name would fright 
him now. Sir Rhadamanthus, Rhadamanthus, sir. 
There's one so cald, is a just judge, in hell, 

165 pothecary. 164.0, apothecary. 
167 Sir Rhadamanthui. Q omits. 



scrNiL] poetaster si 

And doth inflict strange vengeance on all those. 
That (here on earth) torment poore patient spirits. 1 70 

Crts. He dwells at the three Prunes, by Janus 
Temple ? 

Hor, Your pothecary does, sir. 

Cris. Hart, I owe him money for sweet 
meates, and hce has laid to arrest me, I heare:i75 
but 

Hor. Sir, I have made a most solemne vow : 
I will never baile any man. 

Cris, Well then, I'le sweare, and speake him 
faire, if the worst come. But his name is Minos, 180 
not Rhadamanthus, Horace. 

Hor. That may bee, sir : I but guest at his 
name by his signe. But your Minos is a judge 
too, sir ? 

Cris. I protest to thee, Horace (doe but taste 185 
mee once) if I doe know my selfe, and mine 
owne vertues truely, thou wilt not make that 
esteeme of V^arius, or Virgii, or Tibullus, or any 
of 'hem indeed, as now in thy ignorance thou 
dost ; which I am content to forgive : I would 190 
faine see, which of these could pen more verses 
in a day, or with more facilitie then I ; or that 
could court his mistris, kisse her hand, make 
better sport with her fanne, or her dogge 

Hor. I cannot baile you yet, sir. 195 

173 pothecary. Q, Apothecary. 



58 ^ommt lAcrm. 

Cris. Or that could move his body more grace- 
fully, or dance better : you shoo'd see mee, were 
it not i' the street 

Hor. Nor yet. 

Cris. Why, 1 have beene a reveller, and at^oo 
my cloth of silver sute, and my long stocking, in 
my time, and will be againe — 

Hor. If you may be trusted, sir. 

Cris. And then for my singing, Hermogenes 
himself envies me ; that is your onely master of ^^5 
musique you have in Rome. 

Hor. Is your mother living, sir ? 

Cris. Au ; Convert thy thoughts to somewhat 
else, I pray thee. 

Hor. You have much of the mother in you, no 
sir : your father is dead ? 

Cris. I, I thanke Jove, and my grand-father 
too and all my kins-folkes,and well compos'd in 
their urnes. 

Hor. The more their happinesse ; that rest 

in peace, 215 

Free from th'abundant torture of thy tongue ; 
Would I were with them too. 

Cris. What's that, Horace .? 

Hor. I now remember me, sir, of a sad fate 
A cunning woman, one Sabella sung. 
When in her urne, she cast my destinie, aio 

I being but a child. 

214 urnes. Q, Graves 



Scene I.] poeta^ter 59 

Cris. What was't I pray thee ? 

Hor, Sheetold me, I should surely never perish 
By famine, poyson, or the enemies sword ; 
The hecticke fever, cough, or pleurisie, 
Should never hurt me ; nor the tardie gowt : ^25 
, But in my time, I should be once surpriz'd, 
By a strong tedious talker, that should vexe 
And almost bring me to consumption. 
Therefore (if I were wise) she warn'd me shunne 
All such long-winded monsters, as my bane : *3o 
For If I could but scape that one discourser, 
I might (no doubt) prove an olde aged man. 
By your leave, sir f 

Cris. Tut, tut : abandon this idle humour, 'tis 
nothing but melancholy. 'Fore Jove, now 1*35 
thinke ont, I am to appeare in court here, to 
answere to one that has me in suit ; sweet Hor- 
ace, goe with mee, this is my houre : if I neglect 
it, the law proceedes against me. Thou art fa- 
miliar with these things, pray thee, if thou lov'st 140 
me, goe. 

Hor. Now, let me dye, sir, if I know your 
lawes ; 
Or have the power to stand still halfe so long 
In their loud courts, as while a case is argued. 
Besides, you know, sir, where I am to goe, *45 
And the necessitie. 

243 still. Q omits. 244 leud courts. Q, ( ) Courts. 



60 pOf ta0tf r (Act III. 

Cm. *Tis true : 



Hor. I hope the houre of my release be come : 
Hee will (upon this consideration) discharge me, i| 
sure. *5<ll 

Cm. Troth, I am doubtfull, what I may best 
doe ; whether to leave thee, or my affaires, Hor- 
ace ? 

Hor. O Jupiter, mee, sir ; mee, by any meanes : 
I beseech you, mee, sir. 255 

Oris. No faith, I'le venture those now : Thou 
shalt see I love thee, come Horace. 

Hor. Nay then, I am desperate : I follow you, 
sir. 'Tis hard contending with a man that over- 
comes thus. 260 

Cris. And how deales Mecoenas with thee ? 
liberally ? ha ? Is he open-handed ? bountifull ? 

Hor. Hee's still himselfe, sir. 

Cris. Troth, Horace, thou art exceeding happy 
in thy friends and acquaintance; they are all 265 
most choice spirits, and of the first ranke of Ro- 
manes : I doe not know that poet, I protest, ha's 
us'd his fortune more prosperously, then thou 
hast. If thou would'st bring me knowne to Me- 
coenas, I should second thy desert well; thou 270 
should'st find a good sure assistant of mee : one, 
that would speake all good of thee in thy absence, 
and be content with the next place, not envying 

271 atsiitant. Q, Assistance. 



thy reputation with thy patron. Let me not live, 
but I thinke thou and I (in a small time) should 275 
lift them all out of favour, both Virgil, Varius, 
and the best of them ; and enjoy him wholy to 
our selves. 

Hor. Gods, you doe know it, I can hold no 

longer; 
This brize hath prickt my patience : Sir, your 

silkenesse ^80 

Cleerely mistakes Mecoenas, and his house ; 
To thinke, there breathes a spirit beneath his 

roofe, 
Subject unto those poore affections 
Of under-mining envie, and detraction, 
Moodes, onely proper to base groveling minds : 285 
That place is not in Rome, I dare affirme. 
More pure, or free, from such low common evils. 
There's no man greev'd, that this is thought 

more rich. 
Or this more learned ; each man hath his place. 
And to his merit, his reward of grace : ^9° 

Which with a mutuall love they all embrace. 

Cris. You report a wonder 1 *tis scarce credi- 
ble, this. 

Hor. I am no torture, to enforce you to be- 

Iceve it, but 'tis so. =^95 

Cris. Why, this enflames mee with a more 

294 torturt. Q, Torturer. 



62 porta0ter fAcrin. ; 

ardent desire to bee his, then before : but, I 
doubt I shall find the entrance, to his familiar- 
itie, somwhat more then difficult, Horace. 

Hor. Tut, you'le conquer him, as you have3oo 
done me; There's no standing out against you, 
sir, I see that. Either your importunitie, or the 
intimation of your good parts; or 

Cris. Nay, Pie bribe his porter, and the 
groomes of his chamber ; make his doores open 3^5 
to mee that way, first : and then Tie observe my 
times. Say, he should extrude mee his house to 
day; shall I therefore desist, or let fall my suite, 
to morrow ? No : I'le attend him, follow him, 
meet him i' the street, the high waies, run by 310 
his coach, never leave him. What? Man hath 
nothing given him, in this life, without much 
labour. 

Hor. And impudence. 
Archer of heaven, Phoebus, take thy bow, 315 

And with a full drawne shaft, naile to the earth 
This Python ; that I ma}' yet run hence, and live : 
Or brawnie Hercules, doe thou come downe. 
And (though thou mak'st it up thy thirteenth 

labour) 
Rescue me from this Hydra of discourse, here. 320 

302 importunitie. Q, Importunacy. 



Scene II. 



poetaster 63 



Act III. Scene II. 

\The Same:\ 
Aristius [enters to] , Horace [and'] , Crisptnus, 

Jristius. Horace, well met. 

Horace. O welcome, my releever, 

Aristius, as thou lov'st me, ransome me. 

Jris. What ayl'st thou, man ? 

Hor. 'Death, I am seaz'd on here 

By a land-remora, I cannot stirre ; 
Not move, but as he please. 

Cris. Wilt thou goe, Horace ? 

Hor. 'Hart ! he cleaves to me like Alcidcs 
shirt. 
Tearing my flesh, and sinnewes ; o, I ha' beenc 

vext 
And tortur'd with him, beyond fortie fevers. 
For Joves sake, find some meanes, to take me 
from him. 

Arts. Yes, I will : but Tie goe first, and tell 
Mecoenas. i 

Cris. Come, shall we goe ? 

Aris. The jest will make his eyes runne, yfaith. 

Hor. Nay, Aristius? 

Aris. Farewell, Horace, 

Scene II. Q, Scena Sccunda. I reUcver. Q, Redeemer. 

5 please. 1640, pleases. 8 beyond. Q, worse then. 



64 jaoeta^ter [act m. 

Hor. 'Death! will a'leave me? Fuscus Aris- »S 
tius, doe you heare ? Gods of Rome ! you said, 
you had somewhat to say to me, in private. 

Jris. I, but I see, you are now imploi'd with 
that gentleman : 'twere offence to trouble you. 
rie take some fitter oportunite, farewell. [Exit.'] ^o 

Hor. Mischiefe, and torment! 6, my soule, 
and heart. 
How are you crampt with anguish ! Death it selfe 
Brings not the like convulsions. 6, this day, 
That ever I should view thy tedious face 

Cris. Horace, what passion? what humour is 15 
this ? 

Hor. Away, good prodigie, afflict me not. 
(A friend, and mocke me thus!) never was man 
So left under the axe how now. 

Act III. Scene III. 

[The Same.'] 
Minos y Lie tors, [enter to] Crispmus, [and] Horace. 

Minos. That's he, in the imbrodered hat, 
there, with the ash-colour'd feather: his name 
is Laberius Crispinus. 

19 offtnct. Q, sinne zo fartivtll. Q, aduc. Exit. 

23 convulsions. Q, Convulsion, 

24 face. Q, face ? 

15 humour is. Q, Humours. 
Scene III. Q, Scena Tertia. 



sciNE in.i goetafifter 65 

Lictor. Laberius Crispinus ; I arrest you in the 
Emperours name. 5 

Crispinus. Me, sir ? doe you arrest me ? 

Lid. I, sir, at the sute of Master Minos the 
pothecarie. 

Horace. Thankes, Great Apollo: I will not 
slip thy favour offered me m my escape, for my lo 
fortunes. [£;f//.] 

Cris. Master Mmos ? I know no master Minos. 
Where's Horace ? Horace? Horace? 

Min. Sir, doe not you know me ? 

Cris. Oyes J I know you, master Minos : 'crie 15 
you mercy. But Horace? Gods me, is he gone? 

Min. I, and so would you too, if you knew how. 
Officer, looke to him. 

Cris. Doe you heare, master Minos ? pray' 
let's be us'd like a man of ourowne fashion. By »«> 
Janus, and Jupiter, I meant to have paied you 
next weeke, every drachme. Seeke not to eclipse 
my reputation, thus vulgarly. 

Alin. Sir, your oathes cannot serve you, you 
know I have forborne you long. 15 

Cris. I am conscious of it, sir. Nay, I be- 
seech you, gentlemen, doe not exhale me thus; 
remember 'tis but for sweet meates 

Lict. Sweet meat must have sowre sawce, sir. 
Come along. 3© 

8 pothecarie. Q, Apothecary. 1 1 fortunes. Q, Exit. 

16 Godi me. Q, Gods 'Slid. 



66 poftafifter [Acrin. 

Cris. Sweet, master Minos : I am forfeited to 
cternall disgrace, if you doe not commiserate. 
Good officer, be not so officious. 

^a III. Scene IIII. 

Tucca, [two Pyrgi, enter to'] Minos, Lictors^ [an J'] 
Crisp in us. 

Tucca. Why, how now, my good brace of 
bloud-hounds .? whither doe you dragge the gent*- 
man } you mungrels, you curres, you ban-dogs, 
wee are Captaine Tucca, that talke to you, you 
inhumane pilchers. ^ 

Minos. Sir, he is their prisoner. 

Tuc. Their pestilence. What are you, sir? 

Min. A citizen of Rome, sir. 

T'uc. Then you are not farre distant from a 
foole, sir. ,o 

Afin. A pothecarie, sir. 

Tuc. I knew thou wast not a physician ; 
fough : out of my nostrils, thou stink'st of lotium, 
and the syringe: away, quack-salver. Follower, 
my sword. i^ 

Scene IV. Q, Scena Quarta. 

Tucca . . . Crisptnui. Q and F add Histnoy Demetrius. 

two Pyrgi. Q, F 1616, F 1640: Pyrgus. 

%-1 gent' man. 164.0 gentleman. 

12 thou ivast. Q, that was. 



sciNr rai.i poecaflfctr 67 

[/J/] Pyrgus. Here, noble leader, youle doe 
no harme with it: Tie trust you. 

Tuc. Doe you heare, you, good-man slave? 
hooke, ramme, rogue, catch-pole, lose the gent'- 
man, or by my velvet armes 20 

Lictor. What will you doe, sir? 

The Officer strikes up his heeles. 

Tuc. Kisse thy hand, my honourable active 
varlet: and imbrace thee, thus. 

[/J/] Pyrg. O patient metamorphosis I 

Tuc. My sword, my tall rascall. 15 

Lict, Nay, soft, sir: Some wiser then some. 

Tuc. What? and a wit to' By Pluto, thou 
must bee cherish'd, slave; here's three drachmes 
for thee : hold. 

\_ist\ Pyrg' There's halfe his lendings gone. 30 

Tuc. Give mee. 

Lict. No, sir, your first word shall stand : Tie 
hold all. 

Tuc. Nay, but, rogue 

Lict. You would make a rescue of our pris- 35 
oner, sir, you ? 

Tuc. I, a rescue? away inhumane varlet. 
Come, come, I never relish above one jest at 
most; doe not disgust me: Sirra,doe not. Rogue, 
I tell thee, rogue, doe not. 4© 

Lict. How, sir ? rogue ? 

1st Pyrgus. Q and F, Pyrgus. 39 disgust. Q, disgcste. 



68 poftacfter [act m. 

Tuc. I, why! thou art not angrie, rascall ? art 
thou ? 

Lict. I cannot tell, sir, I am little better, upon 
these termes. 45 

Tuc. Ha! gods, and fiends! why, do'st heare? 
rogue, thou, give me thy hand; I say unto thee, 
thy hand : rogue. What ? do'st not thou know 
me ? not me, rogue ? not CaptaineTucca, rogue ? 

Min. Come: pra* surrender the gentleman his 50 
sword, officer; we'll have no fighting here. 

Tuc. What's thy name ? 

Min. Minos, an't please you. 

Tuc. Minos? come, hither, Minos; Thou art 
a wise fellow, it seemes : Let me tallce with thee. 55 

Crts. Was ever wretch so wretched, as unfor- 
tunate I ? 

Tuc. Thou art one of the centum viriy old boy, 
art' not ? 

Alin. No, indeed, master Captaine. ^^ 

Tuc. Goe to, thou shalt be, then : I'le ha' 
thee one, Minos. Take my sword from those 
rascals, do'st thou see ? goe, doe it : I cannot 
attempt with patience. What does this gentle- 
man owe thee, little Minos ? 65 

Min. Fourescore sesterties, sir. 

Tuc. What ? no more f Come, thou shalt re- 
lease him, Minos : what, I'le bee his baile,thou 

^6 fiends. 1640, friends. 



sciNiiiii.i ^ottaittx 69 

shalt take my word, old boy, and casheere these 
furies : thou shalt do't, I say, thou shalt, little 70 
Minos, thou shalt. 

Cris. Yes, and as I am a gentleman, and a 
reveller. Tie make a peece of poetrie, and absolve 
all, within these five daies. 

Tuc. Come, Minos is not to learne how to 75 
use a gent'man of qualitie, I know ; My sword : 
If hee pay thee not, I will, and 1 must, old boy. 
Thou shalt bee my pothecary too : ha'st good 
eringo's, Minos? 

Min. The best in Rome, sir. 80 

Tuc. Goe too then Vermine, know the 

house. 

[/J/] Pyrg. I warrant you, Collonell. 

Tuc. For this gentleman, Minos? 

Min. rie take your word, Captainc. 85 

Tuc. Thou hast it, my sword 

Min. Yes, sir: but you must discharge the 
arrest. Master Crispinus. 

Tuc, How, Minos ? looke in the gentlemans 
face, and but reade his silence. Pay, pay; 'tis 90 
honour, Minos. 

Cris. By Jove, sweet Captaine, you doe most 
infinitely endeare, and oblige me to you. 

Tuc. Tut, I cannot complement, by Mars: 
but Jupiter love me, as I love good wordes, and 95 
good clothes, and there's an end. Thou shalt 



70 porta0ter (act in. 

give my boy that girdle, and hangers, when thou 
hast worne them a little more 

Cris. O Jupiter! Captaine, he'shall have them 
now, presently : please you to be acceptive, young loo 
gentleman. 

[ist] Pyrg. Yes, sir, feare not ; I shall accept : 
I have a prettie foolish humour of taking, if 
you knew all. 

Tuc. Not now, you shall not take, boy. 105 

Cris. By my truth, and earnest, but hee shall, 
Captaine, by your leave. 

Tuc. Nay, and a 'sweare by his truth, and earn- 
est, take it boy : doe not make a gent'man for- 
sworne. »><> 

Lict. Well, sir, there is your sword ; but 
thanke master Minos: you had not carried it as 
you doe, else. 

Tuc. Minos is just, and you are knaves, 
and "S 

Lict. What say you, sir ? 

Tuc. Passe on, my good scoundrell, passe on, 
I honour thee; But, that I hate to have action with 
such base rogues as these; you should ha'seene 
me unrip their noses now, and have sent 'hem to 120 
the next barbers, to stitching ; for, doe you see 
— I am a man of humour, and I doe love the var- 
lets, the honest varlets; they have wit, and valour: 

106 hee shall. Q, a'shal. 108-09 and earnest. Q omits. 



sciNtim.i |0oeta0ter 71 

and are indeed good profitable lExfu/tt Lictors.'] 

errant rogues, as any live in an empire. i»s 

Doest thou heare, Poetaster ? second me. Stand 
up (Minos) close, gather, yet, so. Sir (thou shalt 
have a quarter share, bee resolute) you shall, at 
my request, take Minos by the hand, here, little 
Mmos, I will have it so \ all friends, and a health : 130 
Be not inexorable. And thou shalt impart the 
wine, old boy, thou shalt do't, little Minos, thou 
shalt : make us pay it in our physicke. What ? 
we must live, and honour the gods, sometimes ; 
now Bacchus, now Comus, now Priapus : every US 

\_Enter Hntrio, followed by Demetrius.'] 
god, a little. What's he, that stalkes by, there ? 
boy, Pyrgus, you were best let him passe, sirrah ; 
doe, ferret, let him passe, doe. 

[/J/] Pyrg. *Tis a player, sir. 

Tuc. A player ? Call him, call the lowsie slave 140 
hither : what, will he saile by, and not once 
strike, or vaile to a man of warrc .? ha ? doe you 
heare ? you, player, rogue, stalker, come backe 
here : no respect to men of worship, you slave? 
What, you are proud, you rascall, are you proud? 145 
ha? you grow rich, doe you? and purchase, you 
two-penny teare-mouth ? you have fortune, and 

125 errant. Q, Arrant. 1 38 ferret Q, Leveret. 

141 what, lutll. Q, what'l. 

146-47 you tioo-ftnny teare-mouth t Q omiti. 



72 poetaster (act m. 

the good yeere on your side, you stinkard ? you 
have ? you have ? 

Histrio. Nay, sweet Captaine, be confinM to 150 
some reason ; I protest I saw you not, sir. 

Tuc. You did not? where was your sight, Oedi- 
pus ? you walke with hares eies, doe you ? Tie 
ha' 'hem glas'd rogue; and you say the word, 
they shall be glaz'd for you ; come, we must have 155 
you turne fiddler againe, slave, 'get a base violin 
at your backe, and march in a tawnie coate,with 
one sleeve, to Goose-faire, and then you'll know 
us ; you'll see us then ; you will, gulch, you will ? 
Then, wil't please your worship to have any 160 
musicke, Captaine ? 

Hist. Nay, good Captaine. 

Tuc. What, doe you laugh, Owleglas ? death, 
you perstemptuous varlet, I am none of your fel- 
lowes : I have commanded a hundred and fiftiei65 
such rogues, I. 

1st Pyr. I, and most of that hundred and 
fiftie, have beene leaders of a legion. 

Hist. If I have exhibited wrong, I'le tender 
satisfaction, Captaine. 170 

Tuc. Sai'st thou so, honest vermine ? Give me 
thy hand, thou shalt make us a supper one of 
these nights. 

Hist, When you please, by Jove, Captaine, 
most willingly. 175 

163 OivUglat. Q, Howleglas. 



sczN. nu.j ^ometn 73 

Tuc. Doest thou 'sweare ? to morrow then ; 
say, and hold slave. There are some of you plail 
ers honest gent'man-like scoundrels and sus- 
pected to ha' some wit, as well as your poets; 
both at drmking, and breaking of jests : and are.So 
companions for gallants. A man may skelder vee 
now and then, of halfe a dozen shillings, or so.' 
Doest thou not know that Pantalabus There ? 
Hist. No, I assure you, Captaine. 
Tuc. Goe,and bee acquainted with him, then;. 8, 
hee ,s a gent'man, parcell-poet, you slave : his 
father was a man of worship, I tell thee. Goe he 
pens high loftie,in a new stalking straine; big- 
ger then halfe the rimers i' the towne, againe- 
he was borne to fill thy mouth, Minotaurus, he.,o 
was : hee will teach thee to teare, and rand, ras- 
call, to him, cherish his muse, goe : thou hast 
fortie, fort.e shillings, I meane, stinkard, give 
h.m in earnest, doe, he shall write for thee, slave 
If hee pen for thee once, thou shalt not need to .05 
travell, with thy pumps full of gravell, any more, 
after a blmde jade and a hamper: and stalke 
upon boords,and barrell heads, to an old crackt 
trumpet 

Hht. Troth, I thinke I ha' not so much about .00 
me, Captaine. 

178-81 a,dm:p,cud . . . gallant,. Q omits. 

183 Pantalabus. Q, Caprichio. 

<97-99 'nd stalk, . . . trumpet Q omits. 



74 ^OtUmt [Acrm. 

Tuc. It's no matter : give him what thou hast: 
StifFe toe, Tie give my word for the rest: though 
it lacke a shilling, or two, it skils not: Goe,thou 
art an honest shifter, I'le ha' the statute repeal'dios 
for thee. Minos, I must tell thee, Minos, thou 
hast dejected yon gent'mans spirit exceedingly: 
do'st observe ? do'st note, little Minos? 

Min. Yes, sir. 

Tuc. Goe to then, raise ; recover, doe. Suf-»io 
fer him not to droop, in prospect of a player, a 
rogue, a stager: put twentie into his hand, 
twentie, sesterces, I meane, and let no bodie sec : 
goe, doe it, the worke shall commend it selfe, be 
Minos, rie pay. »i5 

Min. Yes forsooth, Captainc. 

2d Pyr. Doe not we serve a notable sharke ? 

Tuc. And what new matters have you now 
afoot, sirrah ? ha ? I would faine come with my 
cockatrice one day, and see a play; if I knew»ao 
when there were a good bawdie one : but they 
say, you ha' nothing but humours, revells, and 
satyres, that girde, and fart at the time, you 
slave. 

Hist. No, I assure you, Captainc, not wec.»»5 
They are on the other side of Tyber: we have 

103 Stiffe toe. Q, Paunch. 

205 thifur. Q, Twentie i' the hundred. 

XI 3 ittttrcit. Q, Drachmes 218 matters. Q, Playes. 



scENriiiL] poetasfter 75 

as much ribaldrie in our plaies, as can bee, as 
you would wish, Captaine : all the sinners, i' the 
suburbs, come, and applaud our action, daily. 

Tuc, I heare, you'll brmg me o* the stage 230 
there ; you'll play me, they say : I shall be pre- 
sented by a sort of copper-lac't scoundrels of 
you: life of Pluto, and you stage me, stinkard; 
your mansions shall sweat for't, your tabernacles, 
varlets, your Globes, and your Triumphs. *35 

Hist. Not we, by Phoebus, Captaine : doe not 
doe us imputation without desert. 

Tuc. I wu' not, my good two-penny rascall : 
reach mee thy neufe. Do'st heare? What wilt 
thou give mee a weeke, for my brace of beagles, h® 
here, my little point-trussers ? you shall ha* 
them act among yee. Sirrah, you, pronounce. 
Thou shalt heare him* speake, in king Darius 
dolefuU straine. 

1st Pyr. O dolefull dayes ! O direful! deadly 

dump I 245 

O wicked world ! and worldly wickednesse f 
How can I hold my fist from crying^ thumps 
In rue of this right rascall wretchednesse f 

Tuc. In an amorous vaine now, sirrah, peace. 

1st Pyr. O, shee is wilder., and more hard^ 

wit hall ., 250 

Then beast^ or bird., or tree^ or stonie wall. 
*33 ¥'- G» Death. 



76 J^Oftafifttr [Act in. 

T/t might shee love me^ to upreare her state : 

/, but perhaps^ shee hopes some nobler mate, 

Tet might shee love me^ to content her sire: 

/, but her reason masters her desire, »55 

Yet might shee love me as her beauties thrall : 

/, but I fear e,^ shee cannot love at all. 

Tuc. Now, the horrible fierce Souldier, you, 
sirrah. 

1st Pyr, JVhat ? will I brave thee ? /, and 

beard thee too, 260 

A Roman spirit scornes to be are a braine^ 
So full of base pusillanimitie. 

Demetrius [^and^ Hist, Excellent. 

Tuc. Nay, thou shalt see that, shall ravish 
thee anon: prick up thine earcs, stinkard: the 165 
Ghost, boies. 

1st Pyr, Findicta. 

2d Pyr, Timoria, 

1st Pyr, Vindicta, 

2d Pyr, Timoria, 170 

/// Pyr, Vent. 

2d Pyr, Veni, 

Tuc, Now, thunder, sirrah, you, the rumb- 
ling plaier. 

2d Pyr. I, but some bodie must crie (mur-ijs 
der) then, in a small voice. 

Tuc, Your fellow-sharer, there, shall do't ; 
Crie, sirrah, crie. 

258 horrible. Q, orrible. 275 2d Pyr. Q and 1 61 6, I. Pyr. 



scrNimi.] J^oeca^ter 77 

1st Pyr. Murder^ murder. 

2d Pyr, Who calls out murder ? lady^ was it 
you ? 280 

Dem, ^and^Hist. O, admirable good, I pro- 
test. 

Tuc, Sirrah, boy, brace your drumme a little 
straighter, and doe the t'other fellow there, hee 

in the what sha' call him and yet, 285 

stay too. 

2d Pyr. Nay^ and thou dalliest^ then I am thy 

And fear e shall force .^ what friendship cannot win; 
Thy death shall burie what thy life conceales^ 
Villaine I thou diestyfor more respecting her 290 

1st Pyr. O, stay my Lord. 

2d Pyr, Then me : yet speake the truths and I 
will guerdon thee: 
But if thou dally once againe^ thou diest. 

Tuc. Enough of this, boy. 

2d Pyr. Why then lament therefore : damh*dz^s 
be thy guts unto king Plutoes hell^ and princely 
Erebus ; for sparrow es must have foode. 

Hist. 'Pray, sweet Captaine, let one of them 
doe a little of a ladie. 

Tuc. O! he will make thee eternally en- 300 
amour'd of him, there : doe, sirrah, doe : 'twill 
allay your fellowes furie a little. 

290 her Q, her, than me. 292 Then me : Q omits. 



78 poecafifter [act m. 

1st Pyr. Master mocke on : the scorne thou 
givest me^ 
Pray 'Jove^ some lady may returne on thee. 

2d Pyr. No: you shall see mee doe the 3^5 
Moore : Master, lend mee your scarfe a little. 

Tuc. Here, 'tis at thy service, boy. 

2d Pyr. You, master Minos, harke hither 
a little. 

They \2d Pyr. and Minos'] zvith-draw to 
make themselves ready. 

Tuc. How do'st like him? art not rapt? art 31° 
not tickled now? do'st not applaud, rascall ? do'st 
not applaud ? 

Hist. Yes : what will you aske for 'hem a 
weeke, Captaine? 

Tuc. No, you mangonizing slave, I will not 3 15 
part from 'hem : you'll sell 'hem for enghles you : 
let's ha' good cheere to morrow-night at supper, 
stalker, and then wee'll talke, good capon, and 
plover, doe you heare, sirrah ? and doe not bring 
your eating plaier with you there; I cannot away 3»o 
with him : He will eate a legge of mutton, while 
I am in my porridge, the leane Poluphagus, his 
belly is like Barathrum, he lookes like a mid-wife 
in mans apparell, the slave. Nor the villanous- 
out-of-tune fiddler ^Enobarbus, bring not him. 3*5 
What hast thou there? sixe and thirtie? ha? 

Hist. No, here's all I have (Captaine) some 

309 little. Q, Exeunt. 



Scene HIL] ^Om&ttX 79 

five and twentie. Pray, sir, will you present, and 
accommodate it unto the gentleman : for mine 
owne part, I am a meere stranger to his humour : 330 
besides, I have some businesse invites me hence, 
with Master Asinius Lupus, the tribune. 

Tuc. Well : goe thy waies : pursue thy pro- 
jects, let mee alone with this desseigne; my 
Poetaster shall make thee a play, and thou shalt335 
be a man of good parts, in it. But stay, let mee 
see : Doe not bring your i^sope, your politician ; 
unlesse you can ram up his mouth with cloves: 
the slave smells ranker then some sixteene dung- 
hills, and is seventeene times more rotten : Mary, 340 
you may bring Frisker, my zany : Hee's a good 
skipping swaggerer; and your fat foole there, my 
Mango, bring him too: but let him not begge 
rapiers, nor scarfes, in his over-familiar playing 
face, nor rore out his barren bold jests, with a 345 
tormenting laughter, betweene drunke, and drie. 
Doe you heare, stifFe-toe i Give him warning, 
admonition, to forsake his sawcy glavering grace, 
and his goggle eie: it does not become him, sir- 
rah: tell him so. I have stood up and defended 35° 
you I, to gent'men, when you have beene said 
to prey upon pu'nees, and honest citizens, for 

337 JEsope. Q, Father ^^-sope, 341 Frisker. Q, Friskin. 

347 itifft-toe. Q, Rascall. 
■ 350-58 J havt . . . ytu Q omits. 



8o J0oeta0trr rAcrin. 

socks, or buskins : or when they ha' callM you 
usurers, or brokers, or said, you were able to 

helpe to a peece of flesh 1 havesworne, I did 355 

not thinke so. Nor that you were the common 
retreats for punkes decai'd i' their practice. I 
cannot beleeve it of you 

Hist. *Thanke you, Captaine: Jupiter, and 
the rest of the gods confine your moderne de-36o 
lights, without disgust. 

Tuc. Stay, thou shalt see the Moore, ere thou 
goest : what's he, with the halfe-armes there, that 
salutes us out of his cloke, like a motion ? ha ? 

Hist. O, sir, his dubblet's a little decaied;365 
hee is otherwise a very simple honest fellow, sir, 
one Demetrius, a dresser of plaies about the 
towne, here; we have hir'd him to abuse Hor- 
ace, and bring him in, in a play, with all his 
gallants : as, Tibullus, Mecoenas, Cornelius Gal-37o 
lus, and the rest. 

Tuc. And : why so, stinkard ? 

Hist. O, it will get us a huge deale of money 
(Captaine) and wee have need on't ; for this win- 
ter ha's made us all poorer, then so many starved 375 
snakes : No bodie comes at us ; not a gentleman, 
nor a 

Tuc. But, you know nothing by him, doe you, 
to make a play of? 

359 ^Thanke you. Q, Yes. 



Scene lUI.] ^OttdiSittt 8 1 

Hist. Faith, not much, Captaine; but our 380 
Author will devise, that, that shall serve in some 
sort. 

Tuc, Why, my Parnassus, here, shall helpe 
him, if thou wilt : Can thy Author doe it im- 
pudently enough? 3^5 

Hist. O, I warrant you, Captaine, and spite- 
fully inough too J hee ha*s one of the most over- 
flowing ranke wits, in Rome. He will slander 
any man that breathes, if he disgust him. 

Tuc. rie know the poore, egregious, nitty 39° 
rascall, and he have these commendable quali- 
ties, rie cherish him (stay, here comes the Tar- 
tar) rie make a gathering for him, 1 : a purse, 
and put the poore slave in fresh rags. Tell him 
so, to comfort him : well said, boy. 395 

The boy comes in on Minos shoulders, who 
stalkes, as be acts. 

2d Pyr. Where art thou^ hoy ? where is Cali- 
polls f 
Fight earth-quakes^ in the entrailes of the earthy 
And easterne whirle-windes in the hellish shades : 
Some foule contagion of th' infected heavens 
Blast all the trees ; and in their cursed tops 4oo 

The dismall night-raven^ and tragicke owle 
Breed.f and become fore-runners of my fall. 

381-82 JeT'«f, . . . sort. Q, devise inough. 

388 ranke. Q, villanous. 391 these. Q, such. 

395 boy . . , acts. Q omits. 



82 ^ottnsittt lAcxm. 

Tuc, Well, now fare thee well, my honest 
penny-biter : Commend me to seven-shares and a 

halfe, and remember to morrow if you lacke405 

a service, you shall play in my name, rascalls, 
but you shall buy your owne cloth, and I'le ha* 
two shares for my countenance. Let thy author 
stay with mee. [Exit Histno.] 

Dem. Yes, sir. 410 

Tuc. *Twas well done, little Minos, thou 
didst stalke well ; forgive me that I said thou 
stunkst, Minos : 'twas the savour of a poet, I 
met sweating in the street, hangs yet in my nos- 
trills. 415 

Oris. Who ? Horace ? 

Tuc, I ; he, do'st thou know him ? 

Oris, O, he forsooke me most barbarously, I 
protest. 

Tuc, Hang him fustie satyre, he smells alU*® 
goate ; hee carries a ram, under his arme-holes, 
the slave : I am the worse when I see him. Did 
not Minos impart ? 

Cris. Yes, here are twentie drachmes, he did 
convey. 4^5 

Tuc. Well said, keepe 'hem, wee'll share anon ; 
come, little Minos. 

Cris. Faith, Captaine, I'le be bold to shew you 
a mistris of mine, a jewellers wife, a gallant, 
as we goe along. 43® 

424 htre are. Q, here's. 



Scene V.l ^OttUSittt 83 

Tuc. There spoke my Genius. Minos, some 
of thy eringoes, little Mmos ; send : come hither, 
Parnassus, I must ha' thee familiar with my lit- 
tle locust, here, 'tis a good vermine, they say. 
See, here's Horace, and old Trebatius, the great 435 
lawier, in his companie ; let's avoid him, now : 
He is too well seconded. [Exeunt.'] 

Act III. Scene V. 

\l'he Same.] 

Horace, Trebatius [enter], 
Hor Sat. i, li. 2. 

Horace. There are, to whom I seeme excessive 
sower ; 
And past a satyres law, t'extend my power : 
Others, that thinke what ever I have writ 
Wants pith, and matter to eternise it ; 
And that they could, in one daies light, disclose 5 
A thousand verses, such as I compose. 
What shall I doe, Trebatius ? say. 

Trebatius. Surcease. 

Hor. And shall my Muse admit no more en- 
crease ? 

Treb, So I advise. 

434 *«J' Q, Exeunt Finis Actus Tertij. 
435-37- -Sf^, . • • seconded. Q omits 
Act . . . Trebatius. This scene is not in Q. 



84 poetaster (act m. 

Hor. An ill death let mee die. 

If 'twere not best ; but sleepe avoids mine eye : 
And I use these, lest nights should tedious seeme. 

Treb. Rather, contend to sleepe, and live like 
them. 
That holdmg golden sleepe in speciall price, 
Rub'd u^ith sweet oiles, swim silver Tyber thrice, 
And every ev'en, with neat wine steeped be : 
Or, if such love of writing ravish thee. 
Then dare to sing unconquer'd Caesars deeds ; 
Who cheeres such actions, with aboundant meeds. 

Hor. That, father, I desire; but when I trie, 
I feele defects in every facultie : 
Nor is't a labour fit for every pen. 
To paint the horrid troups of armed men ; 
The launces burst, in Gallia's slaughtred forces ; 
Or wounded Parthians, tumbled from their 

horses : 
Great Caesars warres cannot be fought with 
words. 

Treb. Yet, what his vertue in his peace affords, 
His fortitude, and justice thou canst show; 
As wise Lucilius, honor'd Scipio. 

Hor. Of that, my powers shall suffer no neg- 
lect. 
When such sleight labours may aspire respect : 
But, if I watch not a most chosen time. 
The humble wordes of Flaccus cannot clime 



Scene v.] |aoeta0ter 85 

The attentive eare of Caesar; nor must I 
With lesse observance shunne grosse flatterie : 
P'or he, reposed safe in his owne merit, 35 

Spumes backe the gloses of a fawning spirit. 
Treb. But, how much better would such ac- 
cents sound, 
Then, with a sad, and serious verse to wound 
Pantolabus, railing m his sawcie jests ? 
Or Nomentanus spent in riotous feasts ? 40 

" In satyres, each man (though untoucht) com- 

plaines 
" As he were hurt ; and hates such biting straines. 
Hor. What shall I doe ? Milonius shakes 
his heeles 
In ceaslesse dances, when his braine once feeles 
The stirnng fervour of the wine ascend ; 45 

And that his eyes false number apprehend. 
Castor his horse ; Pollux loves handie fights : 
Thousand heads, a thousand choise delights. 
My pleasure is in (ttt, my words to close, 
As, both our better, old Lucilius does: 50 

He, as his trustie friends, his bookes did trust 
With all his secrets ; nor, in things unjust, 
Or actions lawfull, ran to other men : 
So, that the old mans life, describ'd was scene 
As in a votive table in his lines ; 55 

And to his steps my Genius inclines, 
Lucanian, or Apulian, I not whether; 



86 poetaster [actih. 

For the Venusian colonic plowes either : 
Sent thither, when the Sabines were forc'd thence 
(As old fame sings) to give the place defence 
'Gainst such, as seeing it emptie, might make 

rode 
Upon the empire ; or there fixe abode : 
Whether th' Apulian borderer it were. 
Or the Lucanian violence they feare. 
But this my stile no living man shall touch, 
If first I be not forc'd by base reproch; 
But, like a sheathed sword, it shall defend 
My innocent life ; for, why should I contend 
To draw it out, when no malicious thiefe 
Robs my good name, the treasure of my life f 
O Jupiter, let it with rust be eaten. 
Before it touch, or insolently threaten 

\'^ i* The life of any with the least disease; 

So much I love, and woe a generall peace. 
But, he that wrongs me (better, I proclame, 
y He never had assai'd to touch my fame.) 

; p"or he shall weepe, and walke with every tongue 

Throughout the citie, infamously song. 
Servius, the Praetor, threats the lawes, and urne, 
If any at his deedes repine or spurne ; 
The witch, Canidia, that Albucius got, 
Denounceth witch-craft, where shee loveth not : 
Thurius, the judge, doth thunder worlds of ill, 
To such, as strive with his judiciall will ; 



h 



scinev.] ^oetasiter 87 

" All men affright their foes in what they may, 85 
" Nature commands it, and men must obay. 
Observe with me ; " The wolfe his tooth doth 

use : 
"The bull his home. And, who doth this infuse, 
" But nature ? There's luxurious Scaeva ; Trust 
His long-liv'd mother with him ; His so just 9© 
And scrupulous right hand no mischiefe will ; 
No more, then with his heele a wolfe will kill, 
Or Oxe with jaw : Mary, let him alone 
With temper'd poison to remove the croane. 

But, briefly, if to age I destin'd bee, 95 

Or that quick deaths black wings inviron me ; 
If rich, or poore ; at Rome ; or fate command 
I shall be banish't to some other land ; 
What hiew soever, my whole state shall beare, 
I will write satyres still, in spight of feare. 100 

Treb. Horace ; I feare, thou draw'st no lasting 

breath : 
And that some great mans friend will be thy 

death. 
Hor. What ? when the man that first did saty- 

rise. 
Durst pull the skin over the eares of vice ; 
And make, who stood in outward fashion cleare, 105 
Give place, as foule within ; shall I forbeare ? 
Did Laelius, or the man, so great with fame. 
That from sackt Carthage fetcht his worthy 

name. 



88 J^ortaflfter [acthi. 

Storme, that Lucilius did Metellus pierce ? 
Or bury Lupus quick, in famous verse ? no 

Rulers, and subjects, by whole tribes he checkt; 
But vertue, and her friends did still protect : 
And when from sight, or from the judgement seat. 
The vertuous Scipio, and wise Laelius met, 
Unbrac't, with him in all light sports,they shar'd ; 1 15 
Till, their most frugall suppers were prepar'd. 
What e're I am, though both for wealth, and wit; 
Beneath Lucilius, I am pleas'd to sit. 
Yet, envy (spight of her empoisoned brest) 
Shall say, I liv'd m grace here, with the best ; "o 
And, seeking in weake trash to make her wound, 
Shall find me solid, and her teeth unsound : 
*Lesse, learn'd Trebatius censure disagree. 
Treb. No, Horace, I of force must yeeld to 

thee; 
Only, take heed, as being advis'd by mee, >»S 

Lest thou incurre some danger: Better pause 
Then rue thy ignorance of the sacred lawes ; 
There's justice, and great action may be su'd 
'Gainst such, as wrong mens fames with verses 

lewd. 
Hor. I, with lewd verses; such as libels bee, 130 
And aym'd at persons of good qualitie. 
I reverence and adore that just decree : 

113 sight. Perhaps misprint for fight, as Dr Mallory suggests- 
All copies of 1 61 6 and 1640 folios examined read iight. 



s«N. v.] poetaster 89 

But if they shall be sharp, yet modest rimes • 
That spare mens persons, and but taxe their 

crimes. 
Such, shall in open court, find currant passe; 135 
Were Caesar judge, and with the makers grace. 
Treb. Nay, Tie adde more ; if thou thy selfe 
being cleare, 
Shalt taxe in person a man, fit to beare 
Shame, and reproch ; his sute shall quickly bee 
Dissolved in laughter, and thou thence sit free. 140 

\_Exeunt.'^ 



Act nil. Scene I. 

\rhe House of Mius.'] 
ChloCt Cytheris \_enter^. 

Chloe. But, sweet ladie, say : am I well inough 
attir'd for the court, in sadnesse ? 

Cytheris. Well inough ? excellent well, sweet 
Mistris Chloe, this straight-bodied city attire (I 
can tell you) will stir a courtiers bloud, more, 5 
then the finest loose sacks the ladies use to be put 
in ; and then you are as well jewell'd as any of 
them, your rufFe,and linnen about you, is much 
more pure then theirs : And for your beautie, I 
can tell you, there's many of them would defie 10 
the painter, if they could change with you. Mary, 
the worst is, you must looke to be envied, and 
endure a few court-frumps for it. 

Chlo. O Jove, Madam, I shall buy them too 
cheape ! Give me my mufFe,and my dogge there. »S 
And will the ladies be any thing familiar with me, 
thinke you ? 

Cyth. O Juno ! why, you shall see 'hem flock 
about you with their puffe wings, and aske you, 

Act IIII. Scene I. Q, Actui Siuartus. Scena Prima. 
4 Mistris. Q omits. 14 Jove. Q, God. 

18 Juno. Q, Hercules. 



Scene I] ^OmMt 9 1 

where you bought your lawne ? and what you ao 
paid for it ? who starches you ? and entreat you 
to helpe 'hem to some pure landresses, out of 
the citie. 

Cblo. O Cupid ! give me my fanne, and my 
masque too : And will the lords, and the poets ^S 
there, use one well too, ladie ? 

Cytb. Doubt not of that: you shall have kisses 
from them, goe pit-pat, pit-pat, pit-pat, upon 
your lips, as thick as stones out of slings, at the 
assault of a citie. And then your eares will be 30 
so furd with the breath of their complements, 
that you cannot catch cold of your head (if you 
would) in three winters after. 

Chlo. Thanke you, sweet ladie. O heaven ! 
And how must one behave her selfe amongst 35 
'hem ? you know all. 

Cytb, Faith, impudently inough, mistris Chloe, 
and well inough. Carrie not too much under- 
thought betwixt your selfe and them ; nor your 
citie mannerly word (forsooth) use it not too of- 40 
ten in any case; but plaine, I, Madam; and. No, 
Madam: Nor never say, your Lordship, nor 
your Honor; but, you, and you my Lord, and 
my Ladie : the other, they count too simple, and 
minsitive. And though they desire to kisse heaven 45 
with their titles, yet they will count them fooles 
that give them too humbly. 



92 poetaster [acthh. 

Chlo, O intolerable, Jupiter! By my troth, 
ladie, I would not for a world, but you had lyen 
in my house : and i' faith you shall not pay a So 
farthmg, for your boord, nor your chambers. 

Cyth. O, sweet Mistresse Chloe ! 

Chlo, I faith, you shall not ladie, nay, good 
ladie, doe not offer it. 

Act IIII. Scene II. 

[The Same.'] 

Cor^nelius] Gallus, \_and'\ Tibullus [enter to] , Cytberis, 
[and] Chloe. 

Cornelius Gallus. Come, where be these ladies ? 
By your leave, bright starres, this gentleman and 
I are come to man you to court : where your 
late kind entertainement is now to bee requited 
with a heavenly banquet. 5 

Cytheris. A heavenly banquet, Gallus ? 

Cor. Gall. No lesse, my deare, Cytheris. 

Tibullus. That were not strange, ladie, if the 
epithete were onely given for the companie in- 
vited thither; your selfe, and this faire gentle- lo 
woman. 

Chlo. Are we invited to court, sir ? 

Tib, You are, ladie, by the great Princesse, ^ 

Scent II. Q, Scena Secunda. , 



s«Nr III ^ommt 93 

Julia : who longs to greet you with any favours, 
that may worthily make you an often courtier. 15 

Chlo. In sinceritie, I thanke her, sir. You have 
a coach ? ha' you not ? 

Tib. The Princesse hath sent her owne, ladie. 

Chlo. O Venus! that's well: I doe long to 
ride in a coach most vehemently. 20 

Cyth. But, sweet Gallus, pray you, resolve 
mee, why you give that heavenly prayse, to this 
earthly banquet? 

Cor, Gall. Because (Cytheris) it must bee 
celebrated by the heavenly powers : All the 25 
Gods, and Goddesses will bee there ; to two of 
which, you two must be exalted. 

Chlo. A prettie fiction in truth. 

Cyth. A fiction indeed, Chloe, and fit, for the 
fit of a poet. 30 

Cor. Gall. Why, Cytheris, may not poets 
(from whose divine spirits, all the honours of 
the gods have beene deduc*t) intreate so much 
honor of the gods, to have their divine presence 
at a poeticall banquet ? 35 

Cyth, Suppose that no fiction : yet, where are 
your habilities to make us two goddesses, at your 
feast ? 

Cor. Gall. Who knowes not (Cytheris) that 
the sacred breath of a true poet, can blow any 40 
vertuous humanitie, up to deitie ? 



94 POf Caflfter [Act IIII. 

Tib. To tell you the femall truth (which is 
the simple truth) ladies ; and to shew that poets 
(in spight of the world) are able to deifie them- 
selves : At this banquet, to which you are invited, 45 
wee intend to assume the figures of the Gods; 
and to give our severall Loves the formes of 
Goddesses. Ovid will be Jupiter; the Princesse 
Julia, Juno; Gallus here Apollo; you Cytheris, 
Pallas ; I will bee Bacchus ; and my Love Plau- 5° 
tia, Ceres: And to install you, and your hus- 
band, faire Chloe, in honours, equall with ours; 
you shall be a Goddesse, and your husband a God, 

Chlo. A God? O my god! 

Tib, A God, but a lame God, ladie : for he 55 
shall be Vulcan, and you Venus. And this will 
make our banquet no lesse then heavenly. 

Ch/o. In sinceritie, it will bee sugred. Good 
Jove, what a prettie foolish thing it is to be a 
poet ! But harke you, sweet Cytheris ; could they 60 
not possibly leave out my husband ? mee thinkes, 
a bodies husband do's not so well at Court : A 

bodies friend, or so but husband, 'tis like 

your clog to your marmaset, for all the world., and 
the heavens. ^ 

Cyth, Tut, never feare, Chloe: your husband 
will be left without in the lobby, or the great 
chamber, when you shall be put in, i' the closet, 
by this lord, and by that lady. 

Chlo. Nay, then I am certified : he shall goc. ^o 



scE«m.i ^omffttt 95 

^a nil. Scene III. 

[^The Same. 

Enter to] Gallus^ Tibullus, Cytheris, Chloey [at one 
door,~\ Horace^ [tit another] AlbiuSy CrispinuSy 
Tuccdy Demetrius. 

GalluSo Horace ! Welcome. 

Horace. Gentlemen, heare you the newes ? 

Tibullus. What newes, my Quintus ? 

Hor. Our melancholike friend, Propertius, 
Hath clos'd himselfe, up, in his Cynthias 

tombe ; 5 

And will by no intreaties be drawne thence. 

Alh'ius. Nay, good master Crispinus, pray you, 
bring neere the gentleman. 

Hor. Crispinus ? Hide mee, good Gallus : 
Tibullus, shelter mee. 10 

Crispinus. Make your approch, sweet Cap- 
taine. 

Tib. What meanes this, Horace ? 

Hor. I am surprizM againe, farewell. 

Gall. Stay, Horace. 15 

Hor. What, and be tir'd on, by yond' vul- 
ture ? No : Phoebus defend me. [^;r//.] 

Scene III. Q, Scena Tertia. 

Enter . . . Demetrius. F, Gallus, Horace, Tibullus, Albius, 
Crispinus, Tucca, Demetrius, Cytheris, Chloe. 
17 me. Q, Exit. 



96 ^Otta&ttt (Act nil. 

Tib. 'Slight ! I hold my life, 
This same is he met him in holy street. 

Ga/L Troth, 'tis like enough. This act of lo 
Propertius relisheth very strange, with me. 

Tucca. By thy leave, mv neat scoundrell : 
what, is this the mad boy \ou talk't on ? 

Cris. I : this is master Albius, Captaine. 

Tuc. Give me thy hand, Agamemnon ; we »5 
heare abroad, thou art the Hector of citizens : 
what sayest thou ? are we welcome to thee, 
noble Neoptolemus .'' 

Jib. Welcome, Captaine .'* by Jove, and all 
the Gods i* the capitoll 3° 

Tuc. No more, wc conceive thee. Which of 
these is thy wcdlockc, Menelaus ? thy Hcllen ? 
thy Lucrece ? that wee may doc her honor \ mad 
boy ? 

Cris. Shee i' the little fine dressing, sir, is my 35 
Mistris. 

Jib. For fault of a better, sir. 

Tuc. A better, prophane rascall ? I crie thee 
mercy (my good scroile) was't thou ? 

Jib. No harmc, Captaine. 4° 

Tuc. Shee is a Venus, a Vesta, a Melpomene : 
Come hither, Penelope; what's thy name, Iris? 

19 holy street Q, Via Sacra a8 Neoptolemus. Q, Pyrrhui. 
"iSj^^e dressing Q, vcluet Cap 



sctNEiii.j pofta0tfr 97 

Chloe. My name is Chloe, sir; I am a gentle- 
woman. 

Tuc. Thou art in merit to be an empresse 45 
(Chloe) for an eye, and a lip ; thou hast an em- 
perors nose: kisse me againc : 'tis a vertuous 
punke, so. Before Jove, the gods were a sort of 
goslings, when they sufFred so sweet a breath, to 
perfume the bed of a stinkard : thou hadst ill 50 
fortune, Thisbe ; the fates were infatuate; they 
were, punke ; they were. 

Chlo. That's sure, sir : let me crave your name, 
I pray you, sir. 

Tuc. I am know'n by the name of Captaine 55 
Tucca, punke ; the noble Roman, punke : a 
gent'man, and a commander, punke. 

Chlo. In good time : a gentleman, and a com- 
mander? that's as good as a poet, me thinkes. 

Cm. A prettie instrument ' It's mv cousm 60 
Cytheris violl, this : is't not ? 

Cyth. Nay, play cousin, it wants but such a 
voice, and hand, to grace it, as yours is. 

Cris. Alas, cousin, you are merrily inspir'd. 

Cyth. 'Pray you play, if you love mc. ^5 

Cris. Yes, cousin : you know, I doc not hate 
you. 

Tib. A most subtill wench ! How she hath 
baited him with a violl yonder, for a song ! 

59 mf thinkes. Q omits. 



98 POf ta0tf r [Act nil. 

Cris. Cousin, 'pray you call mistris Chloe ; 70 
shec shall hcare an essay of my poetrie. 

Tuc. Tie call her. Come hither, cockatrice : 
here's one, will set thee up, my sweet punkc ; 
set thee up. 

Chlo. Are you a puet, so soone, sir? 75 

Jib. Wife : mum. 

SONG. 

Lo^e it blinJe, and a nvanton ; 

In the ivholt ivorldy there is scant- 
one such another : 
No, not his Mother. ^o 

He hath pluckt her doi'es, and sparronveSf 
To feather his sharpe arroives. 
And alone prevaileth. 
Whilst side f^enus ivaileth. 

But if Cyprts once reco-ver 85 

The iisag j // shall hehonje her 
To looke better to him : 
Or shee ivill undoe him. 

Jib. O, most odoriferous musiclce ! 

Tuc. A, ha I stinkard. Another Orpheus, you 9° 
slave, another Orpheus' an Arion,ridmg on the 
backe of a dolphin, rascall ! 

GalL Have you a copy of this dittie, sir .? 

Cris. Master Albius ha's. 

Jib. I, but in truth, they are my wives verses; 95 

I must not shew 'hem. 

Sorg. Q, Cantus. 



sciNi lu ] poetaster 99 

Tuc. Shew 'hem, bankerupt, shew 'hem ; they 
have salt in 'hem, and will brooke the aire, 
stinkard. 

Gall. How? to his bright mistris, Canidia ? xoo 

Cris. I, sir, that's but a borrowed name; as 
Ovids Connna, or Propertius his Cynthia, or 
your Nemesis, or Delia, Tibullus. 

Gall. It's the name of Horace his witch, as I 
remember. 105 

Tib. Whv ? the ditt'is all borrowed ; 'tis Hor- 
aces : hang him plagiary. 

Tuc. How? he borrow of Horace? hee shall 
pawne himsclfe to ten brokers, hrst. Doe you 
hcare. Poetasters? I know you to be men of no 

worship He shall write with Horace, for a 

talent: and let Mecuenas, and his whole colledge 
of criticks take his part : thou shalt do't, young 
Phctbus : thou shalt. Phaeton ; thou shalt. 

Demetrius. Alas, sir, Horace' hee is a mcereii5 
spunge; nothing but humours, and observation, 
he goes up and downe sucking from everv soci- 
etie, and when hee comes home, squeazes him- 
selfe drie againe. I know him, I. 

Tuc. Thou saiest true, my poore poeticall'^o 
Furic, hee will pen all hee knowes. A sharpe \ 
thornie-tooih'd satyncall rascall, flic him \ hee \ 

iio-ii I . . . tvorsAip. y, I knowc you to be KnightM, 
and men of worshippe. 



100 porta0tfr (actuh. 

carries hev in his home : he wil sooner lose his 
best friend, then his least jest. What he once 
drops upon paper, against a man, hves eternally J 25 
to upbraid him m the mouth of every slave 
tankerd-bearer, or water-man ; not a bawd, or a 
boy that comes from the bake-house, but shall 
point at him : 'tis all dogge and scorpion ; he 
carries poison in his teeth, and a sting in his'30 
taile. Fough, body of Jove ! I'le have the slave 
whipt one of these daies for his satyres,and his 
humours, by one cashcer'd clarke, or another. 

Cris. Wee'll under-takc him, Captaine. 

Dem. I, and tickle him i' faith, for his arro-135 
gancie, and his impudence, in commending his 
owne things ; and for his translating : I can trace 
him 1' faith. O, he is the most open fellow, 
living ; 1 had as lieve as a new sute, I were at it. 

Tuc. Say no more then, but doe it ; 'tis the 140 
only way to get thee a new sute ; sting him, my 
little neufts ; Tie give you instructions: I'lc bee 
your intelligencer, we'll all joyne, and hang upon 
him like so many horse-leaches, the plaiers and 
all. We shall sup together, soone ; and then 145 
wee'll conspire, i' faith. 

Gall. O, that Horace had staied still, here. 

Tib. So would not I : for both these would 
have turn'd Pythagoreans, then. 

Gall. What, mute.? *So 



sciNtiii] J0orta0tfr loi 

Tib. I, as fishes i' faith : come, ladies, shall 
we goe r 

Cyth. We await vou, sir. But mistns Chloe 
askes, if you have not a god to spare, for this 
gentleman. '55 

Gall. Who, Captaine Tucca ? 

Cyth. I ; hcc. 

Gall. Yes, if we can invite him along, he shall 
be Mars. 

Chlo. Ha's Mars anything to doc with\'enus ? '^o 

Tib. O, most o^ all, ladie. 

Chlo. Nay, then, I prav'let him bee invited: 
and what shall Crispinus be ? 

Tib. Mercur)', mistns Chloe. 

Chlo. Mercury } that's a poet ? is't ? 165 

Gall. No, ladie; but somewhat inclining that 
way : hee is a Herald at armes. 

Chlo. A Herald at armes ^ good : and Mer- 
cury ? pretty : hee ha's to doe with Venus, too? 

Tib. A little, with her face, ladie ; or so. 170 

Chlo. 'Tis very well ; pray' let's goe, I long 
to be at it. 

Cyth. Gentlemen, shall we pray your com- 
panies along .? 

Cris. You shall not only pray, but prevailc, 175 
ladie. Come, sweet Captaine. 

Tuc. Yes, I follow: but thou must not talke 
of this now, my little bankerupt. 

153 aiL'ait. 1640, wait. 



102 poftafl^ter [Acrim. 

Jib. Captaine, looke here: mum. 
Dem. rie goe write, sir. i8o 

Tuc. Doe, doe, stay : there's a drachme, to 
purchase gmger-bread, for thy muse. [Exeun/.'^ 

Act IIII. Scene. IIII. 

\^Houie of Lupus. 
Enter] Lupus, Histrio, Lictor, Minos. 

Lupus. Come, let us talke, here ; here we may 
bee private ; shut the dorc, Lictor. You arc a 
plaier, you say. 

Histrio. I, and't please your worship. 

Lup. Good ; and how are you able to give 5 
this intelligence ? 

Hist. Mary, sir, they directed a letter to me, 
and my fellow-sharers. 

Lup. Speake lower, you are not now i*your 
theater. Stager : mv sword, knave. They directed lo 
a letter to you, and your fellow-sharers : forward. 

Hist. Yes, sir ; to hire some of our proper- 
ties ; as a scepter, and a crowne, for Jove ; and 
a caduceus for Mercury : and a petasus 

Lup. Caduceus .'' and petasus } Let me sec >S 

182 muse Q, Exeunt. 

Scene IJII. Q, Scena Quarta. 

Enter . . . Minos. ^ and F add MicetnaSf Horate. 

Lictor. 1640, Licton, 



sctNriiii.) y)oeta0ter 103 

your letter. This is a conjuration ; a conspiracy, 
this. Ouickly, on with my buskins : Tie act a 
tragoedie, i* faith. Will nothing but our gods 
serve these poets to prophane ? dispatch. Plaier, 
I thanke thee, fhe Emperour shall take know- 20 
ledge of thy good service. Who's there now? 
Looke, knave. A crowne, and a scepter ? this is 
good : rebellion, now ? 

Lictor. 'Tis your pothecary, sir, master Minos. 

Lup. What tell'st thou me of pothecaries, 15 
knave ? Tell him ; I have affaires of state, in 
hand ; I can talke to no pothecaries, now. Heart 
of me ! Stay the pothccary there. 

You shall see, I have fish't out a cunning 
peece of plot now : They have had some intel- 30 
ligence, that their project is discover'd, and now 
have they dealt with my pothecary, to poison 
me ; 'tis so ; knowing, that I meant to take 
physick to day : As sure as death, 'tis there. 
Jupiter, I thanke thee, that thou hast vet made 35 
me so much of a politician. You are welcome, 
sir; take the potion from him there; I have an 
antidote more then you wote off", sir ; throw it 
on the ground there : So. Now fetch in the 
dogge ; And yet we cannot tarrie to trie experi- 4° 
ments, now : arrest him, you shall goe with me, 
sir; rie tickle you, pothecarie ; Tie give you a 
glister, i'faith. Have I the letter ? I : 'tis here. 



104 POfta0tfj: (Arrllll. 

Come, your fasces, Lictors : The halfc pikes, and 
the halberds, take them downe t'rum the lares, 45 
there. Plaier, assist me. 

\^Entrr Mttcenas and Horace A 

Mecanas. Whither now, Asinius Lupus, with 
this armorie ? 

Lup. 1 cannot talke now^ I charge you, assist 
me : Treason, treason. 50 

Horace. How ? treason ? 

Lup. I : if you love the Emperour, and the 
state, follow me. \^Exeunt.'\ 

Act WW. Scene V. 

[y/ Room in the Palace.^ 

Ovid, Julia, Gallui, Cytberi^, Tibullus, Plautta, Al- 
bius^ Ch/or, Tucca, Crtspinus, Hermogenes, Fer- 
gus ^enter'j . 

Ovid. Gods, and Goddesses, take your sev- 
crall seates. Now, Mercury, move your cadu- 
ceus, and in Jupiters name command silence. 

Crispinus. In the name of Jupiter ; silence. 

Hermogenes. The cryer of the court hath too 5 
clarified a voice. 

G alius. Peace, Mom us. 

Ovid. Oh, he is the God of reprehension ; let 

53 *"' Q. Exeunt. 

Scent V. Q, Sccna QuinU. 



sciNrv] ^ommt 105 

him alone. *Tis his office. Mercury, goe for- 
ward, and proclaime after Phoebus, our high 10 
pleasure, to all the Deities that shall partake this 
high banquet. 

Cris. Yes, sir. 

Ga//. The great God, Ju- Cns. The great, 

Of his licentious goodncsse. Of his, &c. 15 

Willing to make this feast, no Willing, &c. 

fast 
From any manner of pleasure; From any, &c. 
Nor to bind any God or God- Nor to. Sic, 

desse. 
To be any thing the more god To be, kc. 

or goddess, for their names : 
Hegives them all free licence. He gives, kc. *o 
To speake no wiser, then per- To speake. Sec. 

sons of baser titles ; 
And to be nothing better, then And to. Sec. 

common men, or women. 
And therefore no (jod And chere. Sic. 

Shall need to keep himselfe Shall need, &c. 

more strictly to his God- 

desse. 

Then any man do's to his Then any, &c. ^5 

wife. 
Nor any Goddessc Nor any, &c. 

Shall need to keep her srlfe Shall need, &c. 

more strictly to her God, 



io6 |0orta0tfr [AcrniL 

Then any woman do's to her Then any, &c. 

husband. 
But, since it is no part of wis- But, since, &c. 

dome. 
In these dales, to come into In these, «Scc. 30 

bonds ; 
It shall be lawfull for every It shall, &c. 

lover. 
To breake loving oathes. To breake, &c. 

To change their lovers, and To change, &c. 

make love to others. 
As the heate of every ones As the, 5cc. 

bloud. 
And the spirit of our nectar And the, &c. 35 

shall inspire. 
And Jupiter, save Jupiter. And Jupi. &c. 

Tibullus. So : now we may play the fooles, by 
authoritie. 

Htrm. To play the foole by authoritie, is 
wisdome. 4.0 

Julia. Away with your matterie sentences, 
Momus ; they are too grave, and wise, for this 
meeting. 

Ovid. Mercury, give our jester a stoole, let 
him sit by ; and reach him of our cates. 45 

Tucca. Do'st heare, mad Jupiter r Wee'll 
have it enacted j He, that speakes the first wise 

30 ^f. Q omio. 



Scene v.] ^OttB^ttt 10 J 

word, shall be made cuckold. What sai*st thou ? 
Is't not a good motion ? 

Ovid. Deities, are you all agreed ? 50 

y///. Agreed, great Jupiter. 

Jlbius. I have read in a booke, that to play 
the foole wisely, is high wisdome. 

Gal. How now, Vulcan ! will you be the first 
wizard ? 55 

Ovid. Take his wife. Mars, and make him 
cuckold, quickly. 

Tuc. Come, cockatrice. 

Chloe. No, let me alone with him, Jupiter : Tie 
make you take heed, sir, while you live againe ; 60 
if there be twelve in a companie, that you bee 
not the wisest of 'hem. 

Jib. No more, I will not indeed, wife, here- 
after; rie be here : m.um. 

Ovid. Pill us a bowle of nectar, Ganymede: 65 
we will drinke to our daughter Venus, 

Gal. Looke to your wife, Vulcan : Jupiter 
begins to court her. 

Tib. Nay, let Mars looke to it : Vulcan must 
doe, as Venus doe's, bcare. 70 

Tuc. Sirrah, boy: catamite. Looke, you play 
Ganymede well now, you slave. Doe not spill 
your nectar ; Carrie your cup even : so. You 
should have rub'd your face, with whites of egges, 

51 all. Q, Omncs. 



io8 portasfter [act mi. 

you rascall ; till your browes had shone like our 75 
sooty brothers here, as sleeke as a horn-booke : 
or ha' steept your lips in wine, till you made 'hem 
so plump, that Juno might have beene jealous 
of 'hem. Punke, kisse me, punke. 

Ovid. Here, daughter Venus, I drinke to lo 
thee. 

Chlo. *Thanke you, good father Jupiter. 

Tuc. Why, mother Juno ! gods and fiends ! 
what, wilt thou suffer this ocular temptation ? 

Tib. Mars is enrag*d, hee lookes bigge, and 85 
begins to stut, for anger. 

Herm. Well plaid, Captaine Mars. 

Tuc. Well said, minstrell Momus : I must 
put you in .? must I } When will you be in good 
fooling of your selfe, fiddler ? never .? 90 

Herm. O, 'tis our fashion, to be silent, when 
there is a better foole in place, ever. 

Tuc. 'Thanke you, rascall. 

Ovid. Fill to our daughter Venus, Ganymede, 
who fills her father with affection. 95 

Julia. Wilt thou be ranging, Jupiter, before 
my face .•* 

Ovid. Why not, Juno ? why should Jupiter 
stand in awe of thy face, Juno ? 

Jul. Because it is thy wives face, Jupiter. 100 

Ovid. What, shall a husband be afraid of his 
wives face .? will shee paint it so horribly ? Wee 



Scene v.] ^Ommt lOQ 

are a King, cot-queane ; and we will raigne in 
our pleasures ; and wee will cudgell thee to death, 
if thou finde fault with us. 105 

JuL I will find fault with thee, King cuck- 
oldmaker: what, shall the King of gods turne 
the King of good fellowes, and have no fellow 
in wickednesse ? This makes our poets, that 
know our prophanenesse, live as prophane, as no 
we : By my god-head, Jupiter j I will joyne with 
all the other gods, here; bind thee hand and 
foot ; throw thee downe into earth ; and make 
a poore poet of thee, if thou abuse me thus. 

Gal. A good smart-tongu'd Goddesse ; a right 115 
Juno. 

Ovid. Juno, we will cudgell thee, Juno : we 
told thee so yesterday, when thou wert jealous 
of us, for Thetis. 

Pyrgus. Nay, to day shee had me in inquisi-120 
tion, too. 

Tuc. Well said, my fine Phrygian frie, in- 
forme, informe. Give mee some wine (King of 
Heralds) I may drinke to my cockatrice. 

Ovid. No more, Ganymede, wee will cudgell 125 
thee, Juno: by Styx, we will. 

Jul. I, 'tis well, Gods may grow impudent 
in iniquitie, and they must not be told of it 

113 into earth. 1640, into the earth. 
127 /, 'm nvell. Q, I'ts well. 



no ^Ottn^ttt [AcTinr. 

Ovid. Yea, we will knocke our chinne against 
our brest ; and shake thee out of Olympus, into > 3° 
an oyster-bote, for thy scolding. 

yul. Your nose is not long enough to doe it, 
Jupiter, if all thy strumpets, thou hast among 
the starres, tooke thy part. And there is never 
a starre in thy fore-head, but shall be a home, 135 
if thou persist to abuse me. 

Cris. A good jest, i'faith. 

Ovid. We tell thee, thou anger'st us, cot- 
queane ; and we will thunder thee in pceccs, 
for thy cot-queanitie. X40 

Cris. Another good jest. 

Alb. O, my hammers, and my Cyclops ' this 
boy fills not wine enough, to make us kind 
enough, to one another. 

Tuc. Nor thou hast not collied thy face 145 
enough, stinkard. 

JIh. rie ply the table with nectar, and make 
them friends. 

Herm. Heaven is like to' have but a lame 
skinker, then. '5° 

Jib. " Wine, and good livers, make true 

135 thy. 1640, my. 

140 cot-jueanitie. Q, Cotqueanity : we will lay this City deso- 
late, and flat as this hand, for thy offences These two fingers are 
the Walls of it ; these within, the People; which People, shall be 
all throwne downc thus, and nothing left standing in this Citty, 
but these walls. 



scxN. v.i JSortaflfter 1 1 1 

lovers : Tie sentence them together. Here father, 
here mother, for shame, drinke your selves 
drunke, and forget this dissention ; you two 
should cling together, before our faces, and give 155 
us example of unitie. 

Gal. O, excellently spoken, Vulcan, on the 
sodaine ! 

Tib. Jupiter, may doe well to preferre his 
tongue to some office, for his eloquence. '^ 

Tuc. His tongue shall bee gent'man usher 
to his wit, and still goe before it. 

jllb. An excellent fit office ! 

Cris. I, and an excellent good jest, besides. 

Herm, What, have you hired Mercury, to 165 
cry your jests you make? 

Ovid. Momus, you are envious. 

Tuc, Why, you whoreson block-head, 'tis 
your only blocke of wit in fashion (now adaies) 
to applaud other folkes jests. »7o 

Herm, True : with those that are not artificers 
themselves. Vulcan, you nod; and the mirth of 
the jest droops. 

Pyrg. He ha's fild nectar so long, till his braine 
swims in it. 175 

Gal. What, doe we nod, fellow Gods ? sound 
musicke, and let us startle our spirits with a 
song. 

173 ;*i/. 2» ^cast. 



112 Pom&ttt (Acrlin. 

Tuc, Doe, Apollo : thou art a good musician. 
Gal. What saies Jupiter ? »8o 

Ovid. Ha? ha ? 
Gal. A song. 

Ovtc^. Why, doe, doe, sing. 
Plautia, Bacchus, what say you ? 
Tib. Ceres ? 185 

Plau. But, to this song ? 
Tib. Sing, for my part. 

Jul. Your belly weighes downe your head, 
Bacchus : here's a song toward. 

Tib. Begin, Vulcan 190 

Jib. What else? what else ? 

Tuc. Say, Jupiter 

Ovid, Mercury 

Cris. I, say, say 

SONG. 

WakCy our mirth begins to die : 19 5 

Quicken It nx'ith tunrs, and ovine : 
Raise your notes, you re out: fie, jxey 
This drouzinesse is an til signe. 
He banish htm the queere of Gods^ 

That droops agen : ioo 

Then all art men. 
For here^s not one^ but nods. 

Ovid. I like not this sodaine and general! hea- 
vinesse, amongst our Godheads : 'Tis somewhat 

Song. Q, Cantus. 



scinev.] poetaster 113 

ominous. Apollo, command us lowder musicke,»os 
and let Mercury, and Momus contend to please, 
and revive our senses. 

SONG. 

Herm. Therif in a free and lofty strainer 

Our broken tunes ive thus repaire , 
Cris. And nxje ansnxiere them againe^ no 

Running division on the panting aire : 
Ambo. To celebrate this feast of sense ^ 

As free from scandall, as offence. 
Herm. Here is beautie, for the eye ; 

Cris. For the eare^ s^iveet melodte -^ H* 

Herm. Ambrosiack odour Sy for the smelly 
Cris. Delicious nectar^ for the taste j 

Ambo. For the touchy a ladies n.vastej 
JVhich doth all the rest excell ! 

Ovid. I: This hath wak't us. Mercury, ourno 
Herald; Goe from our selfe, the great God 
Japiter, to the great Emperour, Augustus Caesar: 
And command him, from us (of whose bountie 
he hath received his sir-name, Augustus) that 
for a thanke-ofFring to our beneficence, he pres-ia5 
ently sacrifice as a dish to this banquet, his 
beautifull and wanton daughter Julia. Shee's a 
curst queane, tell him ; and plaies the scold be- 
hind his backe : Therefore, let her be sacrific'd. 
Command him this, Mercury, in our high namezso 
of Jupiter Altitonans. 

Song. Q, Cantui. 119 txctll > Q, with period. 



1 14 l^oetaflftrr [act im. 

'Jul. Stay, feather-footed Mercury, and tell 
Augustus, from us, the great Juno Saturnia; if 
he thinke it hard to doe, as Jupiter hath com- 
manded him, and sacrifice his daughter, that 235 
hee had better to doe so ten times, then suffer 
her to love the well-nos'd poet, Ovid: whom he 
shall doe well to whip, or cause to bee whipt, 
about the capitoll, for soothing her, in her follies. 

Act nil. Scene W. 

\The Same,'\ 

CasaVy Mecarnaiy Horace^ Lupus, Htstrio, Minos, 
Lictors, [enter to] Ovid, Gallus, Ttbullus, 
Tucca, Crispirius, Albius, Hermogenes, Pyrgus, 
Julia, Cytheris, Plautia, Chloe. 

Ccssar. What sight is this? Mecoenas ! Hor- 
ace ! say ! 
Have we our senses ? Doe we heare ? and sec ? 
Or, are these but imaginarie objects 
Drawne by our phantasie ? Why speake you not ? 
Let us doe sacrifice? Are they the Gods? 5 

Reverence, amaze, and furie fight in me. 
What ? doe they kneele ? Nay, then I see *tis 

true 
I thought impossible : o, impious sight ! 

Sctnt VI. Q, Scena Sexta. 



scekevi.) jsottaflftrr 115 

r 

Let me divert mine eyes ; the very thought 
Everts my soule, with passion : looke not, man. lo 
There is a panther, whose unnaturall eves 
Will strike thee dead ; turne then, and die on 

her 
With her owne death. 

He offers to kill his daughter. 

Meccenas [jW] Horace. What meanes impe- 
riall Caesar ? 

Cas. What, would you have me let the 
strumpet live, 15 

That, for this pageant, earnes so many deathes ? 

Tucca. Boy, slinke boy. 

Pyrgm, 'Pray Jupiter, we be not follow'd by 
the sent. Master. \^Exeunt Tucca and Pyrgus.'\ 

Cces. Say, sir, what are you ? 10 

Albius. I play Vulcan, sir. 

Cas. But, what are you sir ? 

Jib. Your citizen, and jeweller, sir. 

Ci^s. And what are you, dame ? 

Chloe. I play Venus, forsooth. 25 

Cas. I aske not, what you play ? but, what 
you are ? 

Chlo. Your citizen, and jewellers wife, sir. 

C^es. And you, good sir ? 

Crispinus. Your gentleman, parcell-poet, sir. 30 

Cas. O, that prophaned name ! 

19 tent, Mditer. Q, Exeunt. 



ii6 l^oftafiftfr (actuu. 

And are these seemely companie for thee, 
Degenerate monster ? all the rest I know, 
And hate all knowledge, for their hatefull sakes. 
Are you, that first the deities inspir'd 35 

With skill of their high natures, and their powers. 
The first abusers of their use-full light ; 
Prophaning thus their dignities, in their formes : 
And making them like you, but counterfeits ? 
O, who shall follow vertue, and embrace her, 4® 
When her false bosome is found nought but 

aire ? 
And yet, of those embraces, centaures spring, 
That warre with humane peace, and poyson 

men. 
Who shall, with greater comforts, comprehend 
Her unseene being, and her excellence ; 45 

When you, that teach, and should eternize her, 
Live, as shee were no law unto your lives : 
Nor liv'd her selfe, but with your idle breaths ? 
If you thinke gods but fain'd, and vertue painted, 
Know, we sustaine an actuall residence; 50 

And, with the title of an Emperour, 
Retaine his spirit, and imperiall power : 
By which (in imposition too remisse, 
Licentious Naso, for thy violent wrong, 
In soothing the declin'd affections 55 

Of our base daughter) we exile thy feete 

56 our. Q, my. ivt. Q, I. 



sctNEVi.] ^om^tn 117 

From all approch, to our imperiall court, 

On paine of death : and thy mis-gotten love 

Commit to patronage of iron doores ; 

Since her soft-hearted sire cannot containe her. 60 

Mecce. O, good my lord; forgive: be like 
the Gods. 

Hor. Let royall bountie (Caesar) mediate. 

Cas. There is no bountie to be shewed to 
such, 
As have no reall goodnesse : Bountie is 
A spice of vertue: and what vertuous act 65 

Can take effect on them, that have no power 
Of equall habitude to apprehend it. 
But live in worship of that idoll vice. 
As if there were no vertue, but in shade 
Of strong imagination, meerely enforc't ? 70 

This shewes, their knowledge is meere ignor- 
ance; 
Their farre-fetcht dignitie of soule, a phansy ; 
And all their square pretext of gravitie 
A meere vaine glorie : hence, away with 'hem. 
I will preferre for knowledge, none, but such 75 
As rule their lives by it, and can becalme 
All sea of humour, with the marble trident 
Of their strong spirits : Others fight below 
With gnats, and shaddowes, others nothing 
know. {Exeunt^ 

79 knoiu. Q, Exeunt. 



ii8 ^ottasttt lAcTim. 

Jet WW. Scene VII. 

\^J Street before the Palace. 
Enter"] Tucca, Crispin us [^and] Pyrgus. 

Tucca. What*s become of my little punke, 
Venus' and the poult-foot stinkard, her hus- 
band ? ha ? 

Crispinus, O, they are rid home i'the coach, 
as fast as the wheeles can runne. 5 

Tuc. God Jupiter is banisht, I heare : and his 
cockatrice, Juno, lockt up. 'Hart, and and all 
the poetrie in Parnassus get me to bee a player 
againe, I'le sell 'hem my share for a sesterce. 
But this is humours, Horace, that goat-footed lo 
envious slave ; hee's turn'd fawne now, an in- 
former, the rogue : 'tis hee has betraid us all. 
Did you not see him, with the Emperour, 
crouching. 

Oris. Yes. 15 

Tuc. Well, follow me. Thou shalt libell, and 
rie cudgell the rascall. Boy, provide me a 
truncheon. Revenge shall gratulate him, tarn 
Marti quam Mercurio. 

Scene VII. Q, Sccna Septima. 

Tucca . . . Pyrgus. 1 6i 6 and Q Tucca, Crispinus, Pyrgus, 
Horace, Mecotnas, Lupus, Histrio. 

•J and and. 1640, an'. 9 a sesterce. Q, six pence. 



scenbvii.1 l^oetafifter 119 

Pyrgus. I, but Master ; take heed how you give 20 
this out, Horace is a man of the sword. 

Cris. 'Tis true, in troth; they say, he's valiant. 

Tuc. Valiant ? so is mine arse ; gods, and ^^^ 
fiends' rie blow him into aire, when I meet 
him next : He dares not fight with a puck-fist. 25 

Pyrg. Master, here he comes. Horace passes by. 

Tuc. Where? Jupiter save thee, my good 
poet ; my noble prophet ; my little fat Horace. 
I scorne to beate the rogue i'the court; and I 
saluted him, thus faire, because hee should sus- 3° 
pect nothing, the rascall : Come, wee'll goe see 
how forward our journey-man is toward the un- 
trussing of him. 

Cris. Doe you heare,Captaine ? I'le write no- 
thing in it but innocence : because I may sweare 35 
I am innocent. 

[Exeunt Tucca^ CrispinuSy and Fergus. Enter Horace, 
MecctnaSy Lupus, His trio and Lie tor s.^ 

Horace. Nay, why pursue you not the Em- 
peror for your reward, now, Lupus ? 

Mecaenas. Stay, Asinius ; 
You, and your stager, and your band of Lictors : 40 
I hope your service merits more respect. 
Then thus, without a thankes, to be sent hence \ 

Histrio. Well, well, jest on, jest on. 

Hor. Thou base unworthy groome. 

28 noble . . . Horace. Q, my Prophet ; my Noble Horace. 
36 innocent Q, Exeunt. 



1 20 POftaSftf r (Act UU. 

LMpus. I, I, 'tis good. 

Hor. Was this the treason ? this, the danger- 
ous plot, 
Thy clamorous tongue so bellowed through the 

court ? 
Hadst thou no other project to encrease 
Thv grace with Ca?sar, but this wolvish traine ; 
To prey upon the life of innocent mirth, 
And harmlesse pleasures, bred, of noble wit ? 
Away, I lothe thv presence : such as thou, 
Thev are the moths, and scarabes of a state; 
The bane of empires ; and the dregs of courts ; 
Who (to endeare themselves to any *cmploy- 

ment) 
Care not, whose fame they blast ; whose life they 

endanger : 
And under a disguis'd, and cob-web masque 
Of love, unto their soveraigne, vomit forth 
V Their owne prodigious malice ; and pretending 
To be the props, and columnes of his safety, 
The guards unto his person, and his peace, 
Disturbe it most, with their false lapwing-cries. 
Lup. Good. Caesar shall know of this ; be- 

leeve it. 
Alecce. Caesar doth know it (wolfe) and to 
his knowledge, 

45 /, /, 'm. Q, I 'tis 54 empires. Q, Kingdomo. 

55 any Employment, y, any 'mploiement. 
63 beletve it Q, Exeunt. 



scmrvin.] IBoftafifter 121 

Hee will (I hope) reward your base endevours. ^5 
" Princes that will but heare, or give accesse 
" To such officious spies, can ne*re be safe : 
"They take in poyson, with an open eare, 
" And, free from danger, become slaves to feare. 

Act nil. Scene VIII. 

\Before the Palace, 

Enter'\ Ovid. 

Ovid. Banisht the court ? Let me be banisht 
life; 
Since the chiefe end of life is there concluded : 
Within the court, is all the kingdome bounded. 
And as her sacred spheare doth comprehend 
Ten thousand times so much, as so much place 5 
In any part of all the empire else ; 
So every bodv, mooving in her spheare, 
Containes ten thousand times as much in him. 
As any other, her choice orbe excludes. 
As in a circle, a magician, then *o 

Is safe, against the spirit, he excites ; 
But out of it, is subject to his rage. 
And loseth all the \'ertue of his arte : 

69 /tare. Q, Exeunt. 

Scene rill. Q, Scena Octava. 



122 poftafi^trr [Acrmi. 

So I, exil'd the circle of the court, 
Lose all the good gifts, that in it I joy'd. 15 

" No vertue currant is, but with her stamp . 
"And no vice vicious, blaunch't with her white 

hand. 
The court's the abstract of all Rome's desert ; 
And my deare Julia, th'abstract of the court. 
Mee thinkes, now I come neere her, I respire 20 
Some aire of that late comfort, I receiv'd : 
And while the evening, with her modest vaile. 
Gives leave to such poore shaddowes as my selfe, 
To steale abroad, I, like a heart-lesse ghost. 
Without the living body of my love, 15 

Will here walke, and attend her. For I know, 
Not farre from hence, shee is imprisoned. 
And hopes, of her strict guardian, to bribe 
So much admittance, as to speake to me. 
And cheere my fainting spirits, with her breath. 3® 

Act nil. Scene IX. 

\T'he Same!^ 

Julia, Ovid. 
Shee appeareth above, as at her chamber window. 
'Julia. Ovid ? my love ? 
Ovid. Here, heavenly Julia. 

17 And no "Vict. Q, Nor novice. 
Sctne IX. Q, Scena Nona. 
Shee . . . ivindoiv. Q omits. 



Scene IX.] POetafl^tet 1 23 

'Jul. Here ? and not here ? O, how that word 

doth play 
With both our fortunes, differing, like our 

selves. 
Both one ; and yet divided, as oppos'd ? 
I high, thou low ? o, this our plight of place 5 

Doubly presents the two lets of our love, 
Locall, and ccremoniall height, and lownesse : 
Both waies, I am too high, and thou too low. 
Our mindes are even, yet: O, why should our 

bodies. 
That are their slaves, be so without their rule ? 10 
rie cast my selfe downe to thee ; If I die, 
rie ever live with thee: no height of birth, 
Of place, of dutie, or of cruell power. 
Shall keepe mee from thee ; should my father 

lockc 
This body up within a tombe of brasse, 15 

Yet rie be with thee. If the formes, I hold 
Now in my soule, be made one substance with 

it; 
That soule immortall; and the same 'tis now; 
Death cannot raze th'affects, shee now retayn- 

eth : 
And then, may shee be any where shee will. xo 
The soules of parents rule not childrens soules. 
When death sets both in their dissolved estates ; 
Then is no child, nor father : then eternitle 



124 ^om&tn lAcTiiii. 

Frees all, from any temporall respect. 
I come, my Ovid, take me in thine armes : 25 

And let me breathe my soule into thy brest. 
Ovi^. O, stay, my love : the hopes thou do'st 

conceive 
Of thy quicke death, and of thy future life, 
Are not autenticall. Thou choosest death, 
So thou might'st joy thy love, in th'other life. 30 
But know (my princely love) when thou art 

dead. 
Thou onely must survive in perfect soule ; 
And in the soule, are no affections : 
We powre out our affections with our bloud ; 
And with our blouds affections, fade our loves. 35 
" No life hath love in such sweet state, as this; 
'' No essence is so deare to moodic sense, 
" As flesh, and bloud ; whose quintessence is 

sense. 
*' Beautie, compos'd of bloud, and flesh, moves 

more, 
" And is more plausible to bloud, and flesh, 40 

" Then spirituall beautie can be to the spirit. 
Such apprehension, as we have in dreames 
(When sleepe, the bond of senses, locks them 

up) 
Such shall we have, when death destroies them 

quite. 
If love be then thy object, change not life; 45 



s«Nr IX.] pof taster 125 

Live high, and happy still : I still below, 
Close with my fortunes, in thy height, shall joy. 
Jul. Ay me, that vertue, whose brave eagles 
wings 
With every stroke, blow starres, in burning 

heaven ; 
Should like a swallow (preying toward stormes) 50 
Ply close to earth: and with an eager plume. 
Pursue those objects, which none else can see. 
But seeme to all the world, the emptie aire. 
Thus thou (pocre Ovid) and all vertuous men 
Must prey like swallowes, on invisible foode ; 55 
Pursuing flies, or nothing : and thus love. 
And every worldly phansie, is transpos'd, 
By worldly tyrannie, to what plight it list. 
O, father, since thou gav'st me not my mind. 
Strive not to rule it: Take, but what thou 

gav'st g^ 

To thy disposure. Thy affections 
Rule not in me ; I must beare all my griefes, 
Let me use all my pleasures : vertuous love 
Was never scandall to a Goddesse state. 
But, hee's inflexible ! and, my deare love, 65 

Thy life may chance be shortned, by the length 
Of my unwilling speeches to depart. 
Farewell, sweet life : though thou be yet exil'd 
Th*officious court, enjoy me amply, still : 
My soule, in this my breath, enters thine eares, 70 



126 poftasftcr rAcrira- 

And on this turrets floore, will I Ire dead, 
Till we mav meet againe. In this proud height, 
I kneele beneatli thee, in my prostrate love, 
And kisse the happy sands, that kisse thy feet, 
" Great Jove submits a scepter, to a cell; 
" And lovers, ere they part, will meet in hell. 

Ovid. Farewell, all companie; and if I could 
All light with thee : hells shade should hide my 

browes, 
Till thy deare beauties beames redeem'd my 
vowes. 

Jul. Ovid, mv love: alas, may we not stay 
A little longer (think'st thou) undescern'd ? 

Ovid. For thine owne goode, fairc Goddesse, 
doe not stay : 
Who would ingage a firmament of fires. 
Shining in thee, for me, a falling starre ? 
Be gone, sweet life-bloud : if I should desceme 
Thy selfe but toucht, for my sake, I should die. 

Jul. I will be gone, then ; and not heaven 
it selfe 
Shall drawe me backe. 

Ovid. Yet Julia, if thou wilt, 

A little longer, stay. 

79 -vtnves. Some copies l6l6 conuin stage-direction: Shee calls, 
him backe. Q and 1640 omit it. 

81 undescern'd. U. of P. 1616, undisccrn'd 

85 descerne. U. of P. 1 616, discerne. 

88 bade. Some copies 1616 contain stage-direction: He calls her 
backt. Q and 1640 omit it. 



sctirtix^ poftasfter 127 

^ul. I am content. 

Ovid. O, mightie Ovid ! what the sway of 
heaven 90 

Could not retire, my breath hath turned back. 

"Jul. Who shall goe first, my love ? my pas- 
sionate eyes 
Will not endure to see thee turne from mee. 

Ovid. If thou goe first, my soule will follow 
thee. 

Jul. Then we must stay. 

Ovid, Ay me, there is no stay 95 

In amorous pleasures : if both stay, both die. 
I heare thy father, hence, my deitie. 

S^Exit Julia.'\ 
Feare forgeth sounds in mv deluded eares ; 
I did not heare him : I am mad with love. 
There is no spirit, under heaven, that workes 100 
With such illusion: yet such witchcraft kill mee, 
Ere a sound mind, without it, save my life. 
Here, on my knees, I worship the blest place 
That held my goddesse ; and the loving aire. 
That clos'd her body in his silken arms : 105 

Vaine Ovid ! kneele not to the place, nor aire ; 
Shee's in thy heart : rise then, and worship there. 
" The truest wisdome silly men can have, 
" Is dotage, on the follies of their flesh, [^jc//.] 

97 deitie. Q, Exit Julia. 
109 fleih. Q, Exit. Finis Actus ^arti. 



Act V. Scene I. 

\_A Room in the Palace. 

Enter"] Casar, Mecanasy Galius, Tibullus, Horace^ 
Equites Ro\mani'\. 

Caesar. We, that have conquer'd still, to save 
the conquer'd, 
And lov'd to make inflictions feard, not felt ; 
Gnev'd to reprove, and joyfull to reward, 
More proud of reconcilement, then revenge, 
Resume into the late state of our love, 5 

Worthy Cornelius Gallus, and Tibullus : 
You both are gentlemen, you, Cornelius, 
A souldier of renowne ; and the first provost, 
That ever let our Roman eagles flie 
On swarthy i^gvpt, quarried with her spoiles. 10 
Yet (not to beare cold formes, nor mens out- 

termes. 
Without the inward fires, and lives of men) 
You both have vertues, shining through your 

shapes ; 
To shew, your titles are not writ on posts, 
Or hollow statues, which the best men are, 15 

Without Promethean stuffings reacht from hea- 
ven ! 

Act V. Scene I. Q, Actus Quintus. Scena Prima. 
7 gentlemen, you. Q, Knightes j and, you. 



sctNEi.] portafifter 129 

Sweet poesies sacred garlands crowne your 

gentrie : 
Which is, of all the faculties on earth, 
The most abstract, and perfect ; if shee bee 
True borne, and nurst with all the sciences. »o 
Shee can so mould Rome, and her monuments, 
Within the liquid marble of her lines. 
That they shall stand fresh, and miraculous. 
Even, when they mixe with innovating dust ; 
In her sweet streames shall our brave Roman 

spirits *5 

Chace, and swim after death, with their choisc 

deeds 
Shining on their white shoulders ; and therein 
Shall Tyber, and our famous rivers fall 
With such attraction, that th'ambitious line 
Of the round world shall to her center shrinke, 3® 
To heare their musicke : And, for these high 

parts, 
Caesar shall reverence the Pierian artes. 

Meccenas. Your Majesties high grace to poesie, 
Shall stand 'gainst all the dull detractions 
Of leaden soules ; who (for the vaine assumings 35 
Of some, quite worthlesse of her soveraigne 

wreaths) 
Containe her worthiest prophets in contempt. 
Gallus. Happy is Rome of all earths other 

states, 

1 7 gentrie. Q, Knighthoodes. 



130 ^Ottnmt [ActV. 

To have so true, and great a president, 

For her inferiour spirits to imitate, 40 

As Caesar is ; who addeth to the sunne, 

Influence, and lustre : in encreasing thus 

His inspirations, kindling fire in us. 

Horace. Phoebus himself shall kneel at Caesars 
shrine. 
And deck it with bay-garlands dew'd with wine, 45 
To quite the worship Caesar does to him : 
Where other Princes, hoisted to their thrones 
By fortunes passionate and disordered power. 
Sit in their height, like clouds, before the sunne, 
Hindring his comforts; and (by their excesse 50 
Of cold in vertue, and crosse heate in vice) 
Thunder, and tempest, on those learned heads. 
Whom Caesar with such honour doth advance. 

Tibullus. All humane businesse fortune doth 
command 
Without all order; and with her blmde hand, 55 
Shee, blinde, bestowes blinde gifts : that still 

have nurst 
They see not who, nor how, but still, the worst. 

Ciss. Caesar, for his rule, and for so much stufFe 
As fortune puts in his hand, shall dispose it 
(As if his hand had eyes, and soule, in it) 60 

With worth, and judgement. " Hands, that part 
with gifts, 

46 quitt. 1640, quit. 



Scene L] ^OttRmt I3I 

" Or will restraine their use, without desert ; 
" Or with a miserie, numm'd to vertues right, 
" Worke, as they had no soule to governe them, 
" And quite reject her : sev'ring their estates 65 
" From humane order. Whosoever can, 
"And will not cherish vertue, is no man. 

Eques. Virgil is now at hand, imperiall Caesar, 
Ci£s. Romes honour is at hand then. Fetch 
a chaire, 
And set it on our right hand ; where 'tis fit, 70 

Romes honour, and our owne, should ever sit. 
Now he is come out of Campania, 
I doubt not, he hath finisht all his i^neids. 
Which, like another soule, I long t'enjoy. 
What thinke* you three, of Virgil, gentlemen, 75 

* Viz. AfecceniiSf Gallus, Tibullus. 

(That are of his profession, though rankt higher) 
Or Horace, what saist thou, that art the poorest. 
And likeliest to envy, or to detract ? 

Hor. Caesar speakes after common men, in 
this. 
To make a difference of me, for my poorenesse : 80 
As if the filth of povertie sunke as deepe 
Into a knowing spirit, as the bane 
Of riches doth, into an ignorant soule. 
No, Caesar, they be path-lesse, moorish minds, 
That being once made rotten with the dung 85 

* A72. . . . Tibullus. Q omit3. 



132 laortasfter (act v. 

Of damned riches, ever after sinke 

Beneath the steps of any villanie. 

But knowledge ?s the nectar, that keepes sweet 

A perfect soule, even in this grave of sinne ; 

And for my soule, it is as free, as Caesars : 9® 

For, what I know is due, Pie give to all. 

'' He that detracts, or envies vertuous merit, 

" Is still the covetous, and the ignorant spirit. 

Cas, Thankes, Horace, for thy free, and hol- 
some sharpnesse: 
Which pleaseth Caesar more, then servile fawnes. 95 
"A flatterd prince soone turnes the prince of 

fooles. 
And for thy sake, wee'll put no difference more 
Betweene the great, and good, for being poore. 
Say then, lov'd Horace, thy true thought of Virgil. 

Hor. I judge him of a rectified spirit, loo 

By many revolutions of discourse 
(In his bright reason [s] influence) refin'd 
From all the tartarous moodes of common men ; 
Bearing the nature, and similitude 
Of a right heavenly bodie ; most severe 105 

In fashion, and collection of himselfe : 
And then as cleare, and confident, as Jove. 

98 Betweene tie great f ami good. Q,'Twixt Knights and Knightly 
Spirits. 

102 reaion. Some copies 1616 read reasons. 

105 bodte. Some copies 1616 fol.with colon. 

106 himielfe. g with semicolon, and some copies 16 16 fol. with 



sc£NEi.i poetaster 133 

Gall. And yet so chaste, and tender is his eare, 
In suffering any syllable to passe, 
That, he thinkes, may become the honoured name no 
Of issue to his so examin'd selfe ; 
That all the lasting fruits of his full merit 
In his owne poemes, he doth still distaste : 
As if his mindes peece, which he strove to paint. 
Could not with fleshly pencils have her right. 115 

Tib. But, to approve his workes of soveraigne 
worth. 
This observation (me thinkes) more then serves : 
And is not vulgar. That, which he hath writ. 
Is with such judgement, labour'd and distill'd 
Through all the needfull uses of our lives, 120 

That could a man remember but his lines. 
He should not touch at any serious point. 
But he might breathe his spirit out of him. 

Cas. You meane, he might repeat part of his 
workes. 
As fit for any conference, he can use ? 125 

Tib. True, royall Caesar. 

Cces. Worthily observ'd : 

And a most worthie vertue in his workes. 
What thinks materiall Horace, of his learning ? 

Hor. His learning labours not the schoole-like 
glosse, 

126 Worthily. Q, 'Tis worthily. 
129 labour i 1640, savours. 



134 poftaflfter [Actv. 

That most consists in ecchoing wordes, and 

termes, ^3° 

And soonest wins a man an empty name : 
Nor any long, or far-fetcht circumstance, 
Wrapt in the curious generalties of artes : 
But a direct, and analyticke summe 
Of all the worth and first effects of artes. 135 

And for his poesie, 'tis so ramm'd with life, 
That it shall gather strength of life, with being, 
And live hereafter, more admir'd, then now. 
C^s. This one consent, in all your doomes of 
him. 
And mutuall loves of all your severall merits, Ho 
Argues a tructh of merit in you all. 

Ac/: V. Sce//e II. 

[77?f Same. 

Enter Hrgil to] Casar, Mecanas, Gallusy Tibuilus, 
Horace, [and] Equites Ro[mani]. 

Casar. See, here comes Virgil ; we will rise 
and greet him : 
Welcome to Caesar, Virgil. Caesar, and Virgil 
Shall differ but in sound ; to Caesar, Virgil 

Scene II. Q, Scena Secunda. 

Enter . . . Romani. F, Casar, f^irgil, Mecanas, Gallus, Tibul- 
luSf Horace, Equita Ro. 



Scene U.) ^Ottn^V 1 35 

(Of his expressed greatnesse) shall be made 
A second sur-name, and to Virgil, Caesar. 5 

Where are thy famous i^neids ? doe us grace 
To let us see, and surfet on their sight. 

Virgtl. Worthlesse they are of Caesars gracious 
eyes, 
If they were perfect; much more with their 

wants : 
Which yet are more, then my time could sup- 
ply. lO 
And, could great Caesars expectation 
Be satisfied with any other service, 
I would not shew them. 

Cas. Virgil is too modest ; 

Or seekes, in vaine, to make our longings more. 
Shew them, sweet Virgil. 

Firg. Then, in such due feare, 15 

As fits presenters of great workes, to Caesar, 
I humbly shew them. 

Cces. Let us now behold 

A humane soule made visible in life ; 
And more refulgent in a senselesse paper. 
Then in the sensuall complement of Kings. 20 

Read, read, thy selfc, deare Virgil, let not me 
Prophane one accent, with an untun'd tongue : 
" Best matter, badly showne, shewes worse, then 

bad. 
See then, this chaire, of purpose set for thee 



136 poetaster (act v. 

To reade thy poeme in : refuse it not. 15 

" Vcrtue, without presumption, place may take 
" Aboue best Kings, whom onely she should 

make. 
Virg. It will be thought a thing ridiculous 
To present eyes, and to all future times 
A grosse untruth ; that any poet (void 30 

Of birth, or wealth, or temporall dignity) 
Should, with decorum, transcend Catsars chaire. 
" Poore vertue rais'd, high birth and wealth set 

under, 
"Crosseth heav'ns courses, and makes world- 
lings wonder. 
Cas. The course of heaven, and fate it selfe, 

in this 35 

Will Caesar crosse ; much more all worldly 

custome. 
Horace. " Custome, in course of honour, ever 

erres : 
" And they are best, whom fortune least pre- 

ferres. 
Cas. Horace hath (but more strictly) spoke 

our thoughts. 
The vast rude swinge of generall confluence 40 
Is, in particular ends, exempt from sense : 
And therefore reason (which in right should be 
The speciall rector of all harmonie) 
Shall shew we are a man, distinct by it. 



45 



5o 



Scene IL] ^OttUmt 1 37 

From those, whom custome rapteth in her 

preasse. 
Ascend then, Virgil : and where first by chance 
We here have turn'd thy booke, doe thou first 
reade. 
Firg, Great Cassar hath his will : I will ascend. 
'Twere simple injurie to his free hand, 
That sweepes the cobwebs, from un-used vertue, 
And makes her shine proportioned, to her worth,' 
To be more nice to entertaine his grace ; 
Then he is choise, and liberall to afford it. 
Cas. Gentlemen of our chamber, guard the 
doores. 
And let none enter, peace. Begin, good Virgil. 55 

Virg. lib. 4. ^ncid. 

Firg. Meane wbi/e, the skies 'gan thunder ; and 
in taile 
Of that, fell powring stormes of sleet, and hatle : 
The Tyrian lords, and Trojan youth, each where 
With Venus Dardane^ nephew, now, in fare 

* lulus. 

Seeke out for sever a II shelter through the plaine ; 60 
Whilst flouds come row ling from the hills amaine. 
Dido a cave, the Trojan * Prince the same 

*yEneas. 

Lighted upon. There, earth, and heavens great* 

dame, 
*Juno. 

45 ivhom. Q, that. 



138 ^octa^er (act v. 

That hath the charge of marriage^ first gave signe 
Unto this contract ; fire^ and aire did shine^ 65 

Js guiltie of the match ; and from the hill 
The nymphs^ with shreekings^ doe the region fill. 
Here first began their bane; This day was ground 
Of all their ills : For nozu^ nor rumours sounds 
Nor nice respect of state mooves Dido ought ; 70 

Her love^ no longer now^ by stealth is sought : 
Shee calls this wedlocke^ and with that fair e name 
Covers her fault. Forth-with the bruit., and fame., 
Through all the greatest Lybian townes, is gone ; 
Fame^ a fleet evilly then which is swifter none: 75 
That moving growes., and flying gathers strength ; 
Little at firsts and fear e full; but at length 
Shee dares attempt the skies., and stalking proud 
With feet on ground., her head doth pierce a cloud! 
This child., our parent earth., stird up with spight 80 
Of all the gods, brought forth , and, as some wnght, 
Shee was last sister of that Giant * race, 

* Cceus, Enceladus^ &c. 

That thought to scale Joves court, right swift of 

pase. 
And swifter, far, of wing: a monster vast. 
And dreadfull. Looke., how many plumes are placet 85 
On her huge corps, so many waking eyes 
Sticke underneath : and {which may stranger rise 
In the report) as many tongues shee beares, 
Js many mouthes, as many listning eares. 



scrNEin.] |0ona0ter 139 

Nightly,, in midst of alt the heaven,, sheeJlieSy 90 

And through the earths darke shaddow,, shreeking,^ 

cries ; 
Nor doe her eyes once bend^ to taste sweet sleepe : 
By day,, on tops of houses ^ shee doth keepe,, 
Or on high towers ; and doth thence affright 
Cities,, and townes of most conspicuous site, 95 

As covetous shee is of tales,^ and lies,, 
As prodigall of truth : This monster^ &c. 

Act V. Scene III. 

\frhe Same. 

Enter"] Lupus, Tucca, Crispinus, Demetrius, Histrio, 
Lictorsy ^to] Casar, l^irgil, Mecaenas, Callus, 
Tibullus, Horace, ^and] Equites Ro^mani.] 

Lupus. Come, follow me, assist me, second 
me; where's the Emperour? 

Eques 7. Sir, you must pardon us. 

Eques 2. Caesar is private now, you may not 
enter. 5 

Tucca. Not enter ? Charge 'hem, upon their 
allegeance, crop-shin. 

Eques I. We have a charge to the contrary, 
sir. 

Lup. I pronounce you all traytors, horrible 
traytors : 10 

Scene III. Q, Scena Tcrtia. 



140 portaflfter IActv. 

What ? doe you know my affaires ? 
I have matter of danger, and state, to impart to 
Caesar. 
Casar. What noise is there ? who's that names 
Caesar ? 

Lup, A friend to Caesar. One that for Cae- »5 
sars good, would speake with Caesar. 
C(£S. Who is't ? looke, Cornelius. 
Eques I, Asinius Lupus. 
Cas. O, bid the turbulent informer hence; 
We have no vacant eare, now, to receive lo 

The unseason'd fruits of his officious tongue. 
Mecoenas. You must avoid him there. 
Lup. I conjure thee, as thou art Caesar, or 
respect'st thine owne safetie ; or the safetie of 
the state, C^sar : Heare mee, speake with mee, 15 
C^sar; 'tis no common businesse, I come about; 
but such as, being neglected, may concerne the 
life of Caesar. 

Cas. The life of Caesar? Let him enter. 
Virgil, keepe thy seat. 3° 

Equites. Beare back there : whither will you ? 
keepe backe. 

Tuc. By thy leave good man usher : mend thy 
perruke, so. 

Lup. Lay hold on Horace there ; and on Me- 35 
coenas, Lictors. Romans, offer no rescue, upon 

34 ptrruke. Q, periwig. 



Scene ra.] ^OttUmt I4I 

your allegeance: Reade, royall Caesar; Tie tickle 
you, Satyre. 

Tuc. He will, humours, he will : He will 
squeeze you, Poet puckfist. 4° 

Lup. rie lop you off, for an unprofitable 
branch, you satyricall varlet. 

Tuc. I, and Epaminondas your patron, here, 
with hisflaggon chaine ; Come, resigne : Though 
'twere your great grand-fathers, the law ha's 45 
made it mine now, sir. Looke to him, my party- 
colour'd rascalls ; looke to him. 

C^j. What is this, Asinius Lupus ? I under- 
stand it not. 

Lup. Not understand it? A libell, Caesar. A 50 
dangerous, seditious libell. A libell in picture. 

C^s. A libell ? 

Lup, I, I found it in this Horace his studie, 
in Mecoenas his house, here ; I challenge the 
penaltie of the lawes against 'hem. 55 

Tuc. I, and remember to begge their land be- 
times ; before some of these hungrie court-hounds 
sent it out. 

Cas, Shew it to Horace : Aske him, if he 
know it. 60 

Lup. Know it? His hand is at it, Caesar. 

Cas. Then, 'tis no libell. 

Horace. It is the imperfect body of an em- 
blcme, Caesar, I began for Mecoenas. 



142 poetas^ter [actv. 

Lup. An embleme ? right : That's greeke for 
a libell. 65 

Doe but marke, how confident he is. 

Hor. A just man cannot feare, thou foolish 
Tribune ; 
Not, though the malice of traducing tongues, 
The open vastnesse of a tyrannes eare, 
The senselesse rigour of the wrested lawes, 70 

Or the red eyes of strain'd authoritie 
Should, in a point, meet all to take his life. 
His innocence is armour 'gainst all these. 

Lup. Innocence? O, impudence! Letmeesee, 
let mee see. Is not here an Eagle ? And is not 75 
that Eagle meant by Caesar ? ha ? Do's not Cae- 
sar give the eagle ? Answere me ; what saist thou? 

Tuc. Hast thou any evasion, stinkard ? 

Lup. Now hee's turn'd dumbe. I'le tickle you, 
Satyre. 80 

Hor. Pish. Ha, ha. 

Lup. Dost thou pish me ? Give me my long- 
sword. 

Hor. With reverence to great Caesar, worthy 
Romans, 
Observe but this ridiculous commenter : g^ 

The soule to my device, was in this distich. 
Thus., oft., the base and ravenous multitude 
Survive., to share the spoiles of fortitude. 

69 tyrannti. Q, Tyrants. 88 Survive. 1640, Survives. 



Scene m.] ^Ottnmt 143 

Which in this body, I have figur'd here, 
A Vulture ' 

Lup, A Vulture ? I ; now, 'tis a Vulture. O, 
abominable ! monstrous !• monstrous ! ha's not 
your Vulture a beake ? ha's it not legges ? and 
tallons ? and wings ? and feathers ? 

Tuc. Touch him, old Buskins. 95 

Hor. And therefore must it be an Eagle ? 

Meca^. Respect him not, good Horace : Say 
your device. 

Hor. A Vulture, and a Wolfe — — 

Lup. A Wolfe? good. That's I ; I am the 100 
wolfe. My name's Lupus, I am meant by the 
wolfe. On, on, a Vulture, and a Wolfe 

Hor. Preying upon the carcasse of an 
Asse 

Lup. An Asse ? Good still : That's I, too, 105 
I am the asse. You meane me by the asse 

Mecce. 'Pray thee, leave braying then. 

Hor, If you will needes take it, I cannot with 
modestie give it from you. 

Mecce. But, by that beast, the old iEgyptiansno 
Were wont to figure in their hieroglyphicks. 
Patience, frugalitie, and fortitude ; 
For none of which, we can suspect you. Tri- 
bune. 

Cas, Who was it. Lupus, that inform'd you 
first, 



144 poetaster [act v. 

This should be meant by us ? or was't your 

comment ? 115 

Lup. No, Caesar ;, A player gave mee the first 
light of it, indeede. 

Tuc. I, an honest sycophant-like slave, and 
a politician, besides. 

Cess. Where is that player? 120 

Tuc. He is without, here. 

Cces. Call him in. 

Tuc. Call in the player, there: Master iEsope, 
call him. 

Equites. Player? where is the player ? Bearens 
backe : None, but the player, enter. 

Tuc. Yes : this gent'man, and his Achates 
must. 

Cris. Tray you, master usher; wee'll stand 
close, here. '3® 

Tuc. 'Tis a gent'man of qualitie,this; though 
he be somewhat out of clothes, I tell yee. Come 
iEsope : hast a bay-leafe i'thy mouth ? Well said, 
be not out, stinkard. Thou shalt have a mo- 
nopoly of playing, confirm'd to thee and thy 135 
covey, under the Emperours broad seale, for this 
service. 

Ciss. Is this hee ? 

Lup. I, Caesar : this is hee. 

127 gent'man. 1640, gentleman. 

131 gent'man. 1640, gentleman. 136 co-vty. 1640, convey. 



Scene III.] poetas^ter 145 

Cas. Let him be whipt. Lictors, goe take 
him hence. 140 

And Lupus, for your fierce credulitie, 
One fit him with a paire of larger eares : 
'Tis Caesars doome, and must not be revok't. 
We hate, to have our court, and peace dis- 
turbed 
With these quotidian clamours. See it done. ^\S 
Lup. Caesar. 

Cas, Gag him, we may have his silence. 
Virg. Caesar hath done like Caesar. Faire, 
and just 
Is his award, against these brainelesse crea- 
tures. 
'Tis not the wholesome sharpe moralitie, 150 

Or modest anger of a satyricke spirit, | 

That hurts, or wounds the bodie of a state ; ' ^' * 
But the sinister application 

Of the malicious, ignorant, and base ^ 

Interpreter : who will distort, and straine 155 

The generall scope and purpose of an authour, 
To his particular, and private spleene. 

Cas, We know it, our deare Virgil, and es- 
teeme it 
A most dishonest practice, in that man. 
Will seeme too wittie in anothers worke. 160 

What would Cornelius Gallus, and Tibullus ? 
This while the rest whisper Casar, 
Tkis . . . Casar. Q omits. 



146 poetaflfcer [actv. 

Tuc. Nay, but as thou art a man, do'st heare ? 
a man of worship; and honourable : Holde, here, 
take thy chaine againe. Resume, mad Mecoenas. 
What? do'st thou thinke, I meant t'have kept 165 
it, bold boy ? No ; I did it but to fright thee, I, 
to try how thou would'st take it. What ? will I 
turne sharke, upon my friends ? or my friends 
friends ? I scorne it with my three soules. Come, 
I love bully Horace, as well as thou do*st, 1: 170 
'tis an honest hieroglyphick. Give mee thy 
wrist. Helicon. Do'st thou thinke. Pie second 
e're a rhinoceros of them all, against thee ? ha ? 
or thy noble Hippocrene, here ? Tie turne stager 
first, and be whipt too : do'st thou see, bully ? 175 

Cas, You have your will of Caesar : use it 
Romanes. 
Virgil shall be your Praetor ; and our selfe 
Will here sit by, spectator of your sports ; 
And thinke it no impeach of royaltie. 
Our eare is now too much prophan'd (grave 

Maro) 180 

With these distastes, to take thy sacred lines : 
Put up thy booke, till both the time and wee 
Be fitted with more hallowed circumstance 
For the receiving so divine a worke. 
Proceede with your desseigne. 185 

Mecce, Gal. Tib. Thankes, to great Caesar. 

184 worke. Q, Labour. 



Scene m.J ^OttSimt I47 

GaL Tibullus, draw you the inditement then, 
whiFst Horace arrests them, on the statute of 
Calumny : Mecoenas, and I, will take our places 
here. Lictors, assist him. loo 

Hor. I am the worst accuser, under heaven. 

GaL Tut, you must do't : 'Twill be noble 
mirth. 

Hor. I take no knowledge, that they doe 
maligne me. ,g- 

Tib. I, but the world takes knowledge. 

Hor. 'Would the world knew. 
How heartily I wish, a foole should hate me. 

Tuc. Body of Jupiter ! What ? Will they 
arraigne my briske Poetaster, and his pooreioo 
journey-man, ha? Would I were abroad skeldring 
for a drachme, so I were out of this labyrinth 
againe : I doe feele my selfe turne stinkard, al- 
ready. But I must set the best face I have, 
upon't now: well said, my divine, deft Horace,205 
bring the whorson detracting slaves to the barre, 
doe. Make 'hem hold up their spread golls : I'le 
give in evidence for thee, if thou wilt. Take 
courage, Crispinus, would thy man had a cleane 
band. 210 

Oris. What must we doe, Captaine ? 

Tuc. Thou shalt see anon: Doe not make 
division with thy legs, so. 

202 drachme. Q^ Twopence, this. 1640, his. 



148 IBoetasftrr [actv. 

Cces. What's he, Horace ? 

Hor. I only know him for a motion, Caesar. 1J5 

Tuc. I am one of thy Commanders, Caesar ; 
A man of service, and action ; My name is Pan- 
tilius Tucca : I have serv'd i' thy warres against 
Marke Antony, I. 

Cces. Doe you know him, Cornelius ? ^^o 

Gal, Hee's one, that hath had the mustring, 
or convoy of a companie, now, and then : I never 
noted him by any other imployment. 

Cas. We will observe him better. 

Tib. Lictor, proclaime silence, in the court. »»S 

Lictor. In the name of Caesar, silence. 

Tib. Let the parties, the accuser, and the 
accused, present themselves. 

Lict. The accuser, and the accused ; present 
your selves in court. ^Z^ 

Cris. Demetrius. Here. 

Firg. Reade the inditement. 

Tib. Rufm Laberius Crispinus^ and Demetrius 
Fannius^ hold up your hands. You are^ before this 
time^joyntly and seuer ally indited,^ and here presently ri^ 
to be arraigned^ upon the Statute of Calumny.^ or Lex 
Remmia (The one by the name of Rufus Laberius 
Critpinus^ alias Crispinas^ Poetaster^ and plagiary : 
the other .f by the name of Demetrius Fannius^ play 
dresser^ and plagiary^ That you (not having the i^o 
feare of Pha^bus^ or his shafts^ before your eyes) 



Scene III.] poeta^ter 149 

contrary to the peace of our liege lord^ Augustus Cae- 
sar ^ his crowne and dignitie^ and against the forme 
of a Statute^ in that case made^ and provided i have 
most ignorantly^fooHshly^ and (more like your selves) 245 
maliciously^ gone about to deprave^ and calumniate 
the person and writings of ^intus Horacius Flac- 
cus^ here present^ poet^ and priest to the Muses: 
and to that end have mutually conspird^ and plot- 
ted^ at sundry times^ as by severall meanes^ and in 250 
sundry places^ for the better accomplishing your base 
and envious purpose ; taxing him^falsly^ of selfe-love^ 
arrogancy^ impudence^ rayling^ filching by trans- 
lation^ ^c. Of all which calumnies^ and every of 
them^ in manner and forme aforesaid,, what an-'^-SS 
swere you ? Are you guiltie^ or not guiltie F 

Tuc. Not guiltie, say. 

Cris, Dem. Not guiltie. 

Tib, How will you be tryed? 

Tuc. By the Romane Gods, and the noblest 260 
Romanes. 

Cris, Dem. By the Romane Gods, and the 
noblest Romanes. 

Virg. Here sits Mecoenas, and Cornelius 
Gallus : Are you contented to be tryed by these I'^^S 

Tuc, I, so the noble Captaine may bee joyn'd 
with them in commission, say. 

Cris. Dem. I, so the noble Captaine may bee 
joyn'd with them in commission. 



ISO poftafifter [act v. 

Virg. What sayes the plaintife ? 270 

Hor. I am content. 

Virg. Captaine, then take your place. 

Tuc. Alas, my worshipfull Praetor ! 'tis more 
of thy gent'nesse, then of my deserving, Iwusse. 
But, since it hath pleas'd the court to make choice 275 
of my wisdome, and gravitie, come, my calum- 
nious varlets : Let's heare you talke for your 
selves, now, an houre or two. What can you 
say? Make a noise. Act, act. 

Firg. Stay, turne, and take an oath first. Tou 

shall sweare^ 280 

By thunder-darting 'Jove., the King of gods ; 
And by the Genius of Augustus Ccesar ; 
By your owne white^ and uncorrupted soules ; 
And the deepe reverence of our Romane justice ; 
To judge this case^ with truth and equities 285 

As bounds by your religion^ and your /awes. 
Now reade the evidence : But first demand 
Of either prisoner, if that writ be theirs. 

Tib. Shew this unto Crispinus. Is it yours ? 

Tuc. Say I: what? dost thou stand upon it, 290 
pimpe ? Doe not denie thine owne Minerva, thy 
Pallas, the issue of thy braine. 

Cris. Yes, it is mine. 

Tib. Shew that unto Demetrius. Is it yours ? 

Dem. It is. 295 

Tuc. There's a father, will not denie his owne 
bastard, now, I warrant thee. 



Scene III.] ^OetHS^ter I5I 

Virg. Reade them aloud. 

Tib, Rampe up^ my genius ; be not retrogade: 
But boldly nominate a spade.^ a spade. 300 

What^ shall thy lubricall and glibberie Muse 
Live^ as shee were defunct^ like punke in stewesF 

( Tuc. Excellent !) 
j^las ! That were no moderne consequence^ 
To have cothurnall buskins frighted hence, 305 

No ; teach thy incubus to poetize; 
And throw abroad thy spurious snotteries^ 
Upon that puft-up lumpe of barmy frothy 

{Tuc. Ah, ha !) 
Or clumsie chil-blain^d judgement ; that^ with oath ^^lo 
Magnificates his merit ; and bespawles 
The conscious time., with humorous fome^ and 

brawles. 
As if his organons of sense would crack 
The sinewes of my patience. Breake his back., 
O Poets all., and some : For now we list 3 1 5 

Of strenuous venge-ance to clutch the fist. 

Subscri[bit] Cris\_pinus']. 

Tuc. I mary, this was written like a Her- 
cules in poetricy now. 

Ci^s. Excellently well threatned ! 

Virg. I, and as strangely worded, Caesar. 3*o 

des. We observe it. 

Virg, The other, now. 

Cris. Q, Cris: alias, Innocence. 



152 |0oeta0ter [act v. 

Tuc. This's a fellow of a good prodigall 
tongue too ; this'll doe wel. 

Tib. Our Muse is in mind for tV uhtrussing a 
poet: 325 

/ slip by his name ; for most men doe know it : 
A critick^ that all the world bescumbers 
With satyricall humours^ and lyricall numbers : 

{Tuc. Art thou there, boy ?) 
And for the most part^ himself doth advance 3 30 

With much self-love^ and more arrogance : 

[Tuc. Good againe.) 
And {but that I would not be thought a prater) 
I could tell you^ he were a translater. 
I know the authors from whence he ha*s stole., 335 

And could trace him too., but that I understand 
*hem not full and whole. 
{Tuc. That line is broke loose from all his 
fellowes : chaine him up shorter, doe.) 
The best note I can give you to know him by., 
Is^ that he keepes gallants company ; 
Whom I would wish., in time should him fare., 34o 
Lest after they buy repentance too deare. 

Subscri[bit] Deme\_trius'\ Fan\_nius'\, 
Tuc. Well said. This carries palme with it. 
Hor. And why, thou motly gull ? why should 
they feare ? 
When hast thou knowne us wrong, or taxe a 
friend ? 

Deme. Fan Q, De Fannius, 



Scene III.] poetasfter 153 

I dare thy malice, to betray it, Speake. 345 

Now thou curl'st up, thou poore, and nasty 

snake ; 
And shrink'st thy poys'nous head into thy 

bosome: 
Out viper, thou that eat'st thy parents, hence. 
Rather, such speckled creatures, as thy selfe. 
Should be eschew'd, and shund : such, as will bite 350 
And gnaw their absent friends, not cure their 

fame. 
Catch at the loosest laughters, and affect 
To be thought jesters, such, as can devise 
Things never seene, or heard, t'impaire mens 

names, 
And gratifie their credulous adversaries, 355 

Will carrie tales, doe basest offices. 
Cherish divided fires, and still increase 
New flames, out of old embers, will reveale 
Each secret that's committed to their trust. 
These be black slaves : Romans, take heed of 

these. 360 

Tuc. Thou twang'st right, little Horace, they 

be indeed: 
A couple of chap-faine curres. Come, We of 

the bench. 
Let's rise to the urne, and condcmne 'hem, 

quickly, 

357 itill. Q omits. 



154 poccasfter [actv. 

Virg. Before you goe together (worthy 

Romans) 
We are to tender our opinion ; 365 

And give you those instructions, that may adde 
Unto your even judgement in the cause : 
Which thus we doe commence. First you must 

know 
That where there is a true and perfect merit, 
There can bee no dejection; and the scorne 370 
Of humble basenesse, oftentimes, so workes 
In a high soule upon the grosser spirit, 
That to his bleared, and offended sense, 
There seemes a hideous fault blaz'd in the 

object ; 
When only the disease is in his eyes. 375 

Here-hcnce it comes, our Horace now stands 

taxt 
Of impudence, selfe-love, and arrogance. 
By these, who share no merit in themselves ; 
And therefore, thinke his portion is as small. 
For they, from their owne guilt, assure their 

soules, 380 

If they should confidently praise their workes, 
In them it would appeare inflation : 
Which, in a full, and wel-digested man. 
Cannot receive that foule abusive name. 
But the faire title of erection. 3^5 

And, for his true use of translating men, 



This (like Joves thunder) shall their pride con- ^ 
troule. 



Scene III] ^Ott^^ttt 1 55 

It Still hath bin a worke of as much palme 

In cleerest judgements, as t'invent, or make. 

His sharpenesse, that is most excusable; 

As being forest out of a suffering vertue, \ 39c 

Oppressed with the licence of the time : 

And howsoever fooles, or jerking pedants, 

Players, or such like bufFon, barking wits, 

May with their beggerly, and barren trash. 

Tickle base vulgar eares, in their despight ; ^95 

"7 

" The honest Satyre hath the happiest soule. ^ 
Now, Romans, you have heard our thoughts. 
With-draw, when you please. 

Tib. Remove the accused from the barre. 400 

Tuc, W ho holds the urne to us ? ha ? Feare 
nothing : Tie quit you, mine honest pittifull 
stinkards. TU do't. 

Cns, Captaine, you shall eternally girt me to 
you, as I am generous. 405 

Tuc, Goe to. 

Cas. Tibullus, let there be a case of vizards 
privately provided : we have found a subject to 
bestow them on. 

Tib. It shall be done, Caesar, 410 

Cas. Here be wordes, Horace, able to basti- 
nado a mans eares. 

393 ^"ffoff forking. Q, Buflfonarj. 



156 ^om&ttX [ActV. 

, Hor. I. Please it great Caesar, I have pills 

/// about me 

I (Mixt with the whitest kind of ellebore) 

Would give him a light vomit ; that should purge4i5 
His braine, and stomack of those tumorous heates : 
Might I have leave to minister unto him. 

Cas. O ! be his ^Esculapius, gentle Horace ; 
You shall have leave, and he shall be your pa- 
tient. 
Virgil, use your authoritie, command him forth. 4»o 
Virg, Caesar is carefull of your health, Cris- 
pinus ; 
And hath himselfe chose a physitian 
To minister unto you : take his pills. 

Hor. They are somewhat bitter, sir, but very 
wholsome ; 
Take yet another, so : Stand by, they'll worke 

anon. 4-»S 

Tib. Romans, returne to your severall seates : 
Lictors, bring forward the urne ; and set the ac- 
cused at the barre. 

Tuc. Quickly, you whorson egregious varlcts ; 
Come forward. What ? shall we sit all day upon 430 
you ? you make no more haste, now, then a 
begger upon pattins : or a physitian to a patient 
that ha's no money, you pilchers. 

424 i'tr. Q omits, "very. Q omits. 

425 Take yet another^ to. Q, Take another, yet j so. 



Scene III.j ^Om^ttt 1 57 

Tib. Rufus Laherius Crispinus and Demetrius 
Fannius^ hold up your hands. Ton have {accord- ^IS 
ing to the Roman custome) put your selves upon triall 
to the urne^ for divers and sundrie calumnies^ 
whereof you have before this time heene indited., and 
are now presently arraigned: Prepare your selves to 
harken to the verdict of your Tryers. Caius Cilnius^^^ 
Mecoenas pronounceth you., by this hand-writing., 
Guiltie. Cornelius Gallus., Guiltie. Pantilius 
Tucca 

Tuc. Parcell-guiltie, I. 

Dem. He meanes himselfe: for it was he in- 
deed, 445 
Suborned us to the calumnie. 

Tuc. I, you whorson cantharides ? was't I ? 

Dem. I appeale to your conscience, Captaine. 

Tib, Then, you confesse it, now. 

Dem. I doe, and crave the mercy of the court. 45® 

Tib. What saith Crispinus? 

Oris. O, the Captaine, the Captaine 

Hor. My physicke begins to worke with my 
patient, I see. 

Firg. Captaine; stand forth and answere. 455 

Tuc. Hold thy peace. Poet Praetor : I appeale 
from thee, to Caesar, I. Doe me right, royall 
Caesar. 

Cas. Mary, and I will, sir. Lictors, gag him : 

455 Captaine. The large paper 16 16 fol. with comma. 

459 Z^g ^'w. The large paper 1 6 1 6 folio and 1 640, gag him; doe. 



J 



158 poftasfter [act v. 

And put a case of vizards o're his head, 460 

That he may looke bi-fronted, as he speakes. 

Tuc, Gods, and fiends. Caesar! thou wilt not, 
Caesar ? wilt thou ? Away, you whorson vultures ; 
away. You thinke I am a dead corps now ; be- 
cause Caesar is dispos'd to jest with a man of 465 
marke, or so. Hold your hook't talons out of my 
flesh, you inhumane Harpies. Goe to, do*t. 
What ? will the royall Augustus cast away a 
gent'man of worship, a Captaine, and a Com- 
mander ; for a couple of condemn'd caitive cal-470 
umnious Cargo's ? 

Cess. Dispatch, Lictors. 

Tuc. Caesar. 

Cas. Forward, Tibullus. 

Virg. Demand, what cause they had to ma-47S 
ligne Horace. 

Dem. In troth, no great cause, not I ; I must 
confesse: but that hee kept better company (for 
the most part) then I : and that better men lov'd 
him, then lov'd me: and that his writings thriv'd48o 
better then mine, and were better lik't, and 
grac't: nothing else. 

Virg. Thus, envious soules repine at others 
good. 

462 fiends. Large paper l6l6 fol. fiends! 1640, friends ! 

467 Harpies. Q, Gorboduckes. 

469-70 Commander. Large paper 1 61 6 fol. and 1640, with 



Scene ni.l ^OttZmt 159 

Hor. If this be all ; faith, I forgive thee freely. 485 
Envy me still ; so long as Virgil loves me, 
Gallus, Tibullus, and the best-best Caesar, 
My deare Mecoenas: vv^hile these, with many 

more 
(Whose names I wisely slip) shall thinke me 

worthy 
Their honoured, and adorM societie, 49« 

And reade, and love, prove, and applaud my 

poemes ; 
I would not wish but such as you should spight 
them. 

Cris. O 

Til?. How now, Crispinus ? 

Cris, O, I am sicke 495 

Hor. A bason, a bason, quickly; our physick 
works. Faint not, man. 

Cris. O retrograde reciprocal! 

incubus. 

Cas. What's that, Horace ? 500 

Hor. Retrograde^ and reciprocally Incubus are 
come up. 

Gal. Thankes be to Jupiter. 

Cris. O glibbery lubricall de- 
funct o 505 

486 still. Large paper 16 16 folio with comma. 

501 Retrograde^ and reciprocally Irtcubus. Q, Retrograde, Re- 
ciprocal!, and Incubus. Large paper 16 16 fol. and 1640, Retro- 
grade, and reciprocall Incubus. 



i6o |^oeta0tfr [Actv. 

Hor. Well said : here's some store. 

Virg. What are they ? 

Hor. Glibbery^ lubrically and defunct. 

Gal. O, they came up easie. 

Cris. O O 510 

Tib. What's that ? 

Hor. Nothing, yet. 

Cris. Magnifica~te. 

Mecoe. Magnificate ? that came up somewhat 
hard. 515 

Hor. I. What cheere, Crispinus ? 

Cris. O, I shall cast up my spurious 

snotteries 

Hor. Good. Againe. 

Cris. Chilblaind O O clumsie 5 *© 

Hor. That clumsie stucke terribly. 

Mecce. What's all that, Horace ? 

Hor. Spurious snotteries^ chilblain^d^ clumsie. 

Tib. O Jupiter! 

Gal. Who would have thought, there should 5*5 
ha' beene such a deale of filth in a poet.? 

Cris. O barmy froth 

C^s. What's that ? 

Cris. P^ffy infate turgidous 

ventositous. 53° 



Hor. Barmy frothy puffy ^infate ^turgidous ^ and 
ventositous are come up. 

523 Spurious snotteries. Q, Spurious, Snotteries. 

530 -ventositous (^, ventosity. 532 ventositous. Q, ycntosity. 



Scene m] ]^OttU&ttX l6l 

Tik O, terrible, windie wordes ! 

Gal. A signe of a windie braine. 

Cris, O — — oblatrant furibund 535 

fatuate strenuous 

Hor. Here's a deale : oblatrant^ furibund^ fat- 
uate^ strenuous, 

Cas, Now, all's come up, I trow. What a 
tumult hee had in his belly ! 540 

Hor, No : there's the often conscious dampe 
behind, still. 

Cris. O conscious — dampe. 

Hor. It's come up, thankes to Apollo, and 
iEsculapius : Yet, there's another ; you were best 545 
take a pill more? 

Cris. O, no: — — o — ^ — o. 

Hor. Force your selfe then, a little with your 
finger. 

Cris. O prorumped. 55® 

Tib. Prorumped? What a noise it made! as 
if his spirit would have prorumpt with it. 

Cris, O o 6. 

Virg. Helpe him : it stickes strangely, what 
ever it is. 555 

Cris, O —cluicht. 

Hor, Now it's come : clutcht. 

535 oblatrant furibund. Q, Oblatrant, Obcaecatc, Furi- 
bund. 

537 oblatrant^ furibund. Q, Oblatrant, Obcaecate, Furibund, 

541 dampe, Q omits. 543 dampt. Q omits. 



i62 poetafl^cer [actv. 

Cas. Clutcht ? It's well, that's come up ! It 
had but a narrow passage. 

Cris. O 560 

Virg. Againe, hold him : hold his head there. 

Cris. Snarling gusts quaking custard, 

Hor. How now, Crispinus ? 

Cris. O ohstupefact. 

\ Tib, Nay : that are all we, I assure you. 565 

Hor, How doe you feele your selfe ? 

Cris. Pretty, and well, I thanke you. 

Virg, These pills can but restore him for a 
time; 
Not cure him quite of such a maladie, 
Caught by so many surfets ; which have fill'd 57o 
His bloud, and braine, thus full of crudities : 
*Tis necessary, therefore, he observe 
A strict and holsome dyet. Looke, you take 
Each morning, of old Catoes principles 
A good draught, next your heart ; that walke 

upon, 575 

Till it be well digested : Then come home. 
And taste a piece of Terence, sucke his phrase 
In stead of lycorice ; and, at any hand, 
yj Shun Plautus, and old Ennius, they are meates 

Too harsh for a weake stomacke. Use to reades^o 

562 Snarling gusts quaking custard. Q^ Tropological/ 

jinagogicall Loquacity Pinnosity. 

575 that ivalke upon. 1640, and walk upon't. 



Scene m.l ^OttSiSttt 1 63 

(But not without a tutor) the best Greekes : 

As Orpheus, Musaeus, Pindarus, 

Hesiod, Callimachus, and Theocrite, 

High Homer, but beware of Lycophron : ^ 

He is too darke, and dangerous a dish. 585 

You must not hunt for wild, out-landish termes, 

To stufFe out a peculiar dialect j 

But let you matter runne before your words : 

And if, at any time, you chaunce to meet 

Some Gallo-belgick phrase, you shall not straight 59° 

Racke your poore verse to give it entertaine- 

ment ; 
But let it passe : and doe not thinke your selfe 
Much damnified, if you doe leave it out ; 
When, nor your understanding, nor the sense 
Could well receive it. This faire abstinence, 595 
In time, will render you more sound, and cleere ; 
And this have I prescrib'd to you, in place 
Of a strict sentence : which till he performe. 
Attire him in that robe. And hence-forth, learne 
To beare your selfe more humbly ; not to swell, 600 
Or breathe your insolent, and idle spight. 
On him, whose laughter, can your worst affright. 

Tib. Take him away. 

Cris. Jupiter guard Caesar. 

Firg. And, for a weeke, or two, see him 
lockt up 

603 Casar. 1 616, U. of P. copy, C<e. 



1 64 J^Ofta^tfi: [actv. 

In some darke place, remoov'd from companie : 605 

He will talke idly else after his physicke. 

Now, to you, sir. Th'extremitie of law 

Awards you to be branded in the front, 

For this your calumny ; But, since it pleaseth 

Horace (the partie wrong' d) t'intreat, of Caesar, 610 

A mitigation of that juster doome; 

With Caesars tongue, thus we pronounce your 

sentence. 
Demetrius Fannius, thou shalt here put on 
That coate, and cap ; and henceforth, thinke 

thy selfe 
No other, then they make thee : vow to weare 

them ^'5 

In every faire, and generous assembly, 
Till the best sort of minds shall take to know- 
ledge 
As well thy satisfaction, as thy wrongs. 

Hor, Only (grave Praetor) here, in open court, 
I crave the oath, for good behaviour, 6ao 

May be administred unto them both. 

Virg. Horace, it shall : Tibullus, give it them. 

Tib. Rufus Laberius Crispinus^ and Demetrius 
Fannius^ Lay your hands on your hearts. Tou shall 
here solemnely attest^ and sweare ; That never {after eis 
this instant) either^ at Booke-sellers stalls^ in tav- 
ernes^ two-penny rooines., gyring houses.^ noble-mens 
625 atttit. Q, contest. 



Scene III.] ^OttUmX 1 65 

buttries^ puisne* s chambers (the best^ and farthest 
places^ where you are admitted to come') you shall 
once offer ^ or dare {thereby to ende are your selfe the ^10 
more to any player^ enghle^ or guiltie gull^ in your 
companie) to maligne^ traduce^ or detract the person, 
or writings of ^uintus Horacius Flaccus ; or any 
other eminent man^ transcending you in merits whom 
your envy shall find cause to worke upon,, either ,, for d'is 
that,, or for keeping himself in better acquaintance,, 
or enjoying better friends: Or if {transported by 
any sodaine and desperate resolution) you doe ; That 
then,, you shall not under the bastoun,, or in the next 
presence,, being an honorable assembly of his favour-d^c 
ers,, bee brought as voluntary gent, to undertake the 
forswearing of it. Neither shall you at any time 
(ambitiously,, affecting the title of the untrussers,, or 
whippers of the age) suffer the itch of writing to 
over-run your performance in lib ell ; uponpaine of 645 
being taken up for lepers in wit,, and (losing both 
your time,, andyour paper s)bee irrecoverably forfeited 
to the hospitall of Fooles. So helpe you our Roman 
gods,, and the Genius of great Casar. 

Virg. So : now dissolve the court. 650 

Hor. Tib. Gal. Mecoe. Virg. And thankes to 
Caesar, 
That thus hath exercisM his patience. 

CiEs. We have, indeed, you worthiest friends 
of Cassar. 



v 



1 66 poftafifter [act v. 

It is the bane, and torment of our eares, 
To heare the discords of those jangling rimers, 655 
That, with their bad and scandalous practices, 
Bring all true arts, and learning in contempt. 
But let not your high thoughts descend so low, 
As these despised objects ; Let them fall. 
With their flat groveling soules : Be you your 

selves. 660 

And as with our best favours you stand crown'd : 
So let your mutuall loves be still renown'd. 
Envy will dwell, where there is want of merit, 
Though the deserving man should cracke his 

spirit. 

SONG. 

Blush f folly y blush: here's none that f eares 665 

The 'wagging of an asses eares ^ 
Although a nxjool'vish case he nveares. 

Detraction is but basenesse <varlet ; 

And apes are afesy though cloth' d in scarlet. 

[Exeunt.] 

THE END. 

Rumpatur, quisquis rumpitur invidia. 

^ng. Q, Cantus, 

Tht End. (^, Finis Actus quinti & ultimi. | Exeunt. 



TO THE READER. 

If^ by looking on what is past^ thou hast deserved 
that name^ I am willing thou should' st yet know 
more^ by that which followes ; an apologeticall Dia- 
logue : which was only once spoken upon the stage^ 
and all the answere I ever gave^ to sundry im- 
potent libells then cast out (and some yet remayning) 
against me^ and this Play. Wherein I take no 
pleasure to revive the times^ but that Posteritie may 
make a difference,^ betweene their manners that pro- 
voked me then^ and mine that neglected them ever, 
For^ in these strifes^ and on such persons^ were as 
wretched to affect a victorie^ as it is unhappy to be 
committed with them. Non annorum canicies est 
laudanda, sed morum. 

To the Reader. Appended to Poetatter in the quarto, i6oi, is the 
following which does not appear in the folio of 1616 : 

TO THE READER. 

Here (Reader) in place of the Epilogue, was meant to thee an 
Apology from the Author, with his reasons for the publishing of 
this booke : but (since he is no Icsse restrain'd, then thou depriv'd 
of it, by Authoritie) hee praies thee to thinke charitably of what 
thou hast read, till thou maist hearc him speake what hee hath 
written. 

FINIS. 



The Perso?is. 

NasutuSf PolyposuSf Author. 

Nasutus. I pray you let's goe see him, how he 
lookes 
After these libells. 

Polyposus. O, vex'd, vex'd, I warrant you. 

Nas. Doe you thinke so ? I should be sorry 
for him, 
If I found that. 

Pol, O, they are such bitter things, 

He cannot choose. 

Nas. But, is he guilty of 'hem ? 5 

Pol, Fuh ! that's no matter. 

Nas. No ? 

Pol. No. Here's his lodging; 

Wee'll steale upon him : or, let's listen, stay. 
He has a humor oft t' talke t' himselfe. 

Nas. They are your manners lead me, not 
mine owne. 

Author, The Fates have not spun him the 
coursest thred >o 

That (free from knots of perturbation) 
Doth yet so live, although but to himselfe, 
As he can safely scorne the tongues of slaves ; 
And neglect Fortune, more then she can him. 



as 



^0 t})t umn 169 

It is the happiest thing, this not to be 
Within the reach of malice ; It provides 
A man so well, to laugh of injuries • 
And never sends him farder for his "vengeance 
1 hen the vexM bosome of his enemy. 
I, now, but thinke, how poorc their spight sets 

OlT, 

Who after all their waste of sulphurous tearmes. 
And burst-out thunder of their charged mouthes 
Have nothing left, but the unsav'ry smoakc ' 
Of their blacke vomit, to upbrayd themselves : 
Whilst I, at whom they shot, sit here shot-free 
And as unhurt of envy, as unhit. ' 

Po/. I, but the Multitude, they thinke not so 
sir, ' 

They thinke you hit, and hurt : and dare give 

out ^ 

Your silence argues it, in not rejoyning 
1 o this, or that late libell ? 

T ^ ' rr , , 'Lasse, good rout ! 30 

I can afFoord them leave, to erre so still • 
And, like the barking students of Beares-Col- 

ledge. 
To swallow up the garbadge of the time 
With greedy gullets, whilst my selfe sit by 
l^leasd, and yet tortur'd, with their beastly 

feeding. ^^ 

17 of. 1640, off. 



170 ^otl^eMraDfr 

'Tis a sweet madnesse runnes along with them, 
To thinke, all that are aym'd at, still are strooke: 
Then, where the shaft still lights, make that the 

marke, 
And so, each feare, or feaver-shaken foole 
May challenge Teucers hand in archery. 4© 

Good troth, if I knew any man so vile, 
To act the crimes, these whippers reprehend. 
Or what their servile apes gesticulate, 
I should not then much muse, their shreds were 

lik'd; 
Since ill men have a lust t'heare others sinnes, 45 
And good men have a zeale to heare sinne 

sham'd. 
But when it is all excrement, they vent. 
Base filth, and ofFall : or thefts, notable 
As Ocean pyracies, or high-way stands : 
And not a crime there tax'd, but is their owne, s® 
Or what their owne foule thoughts suggested 

to them. 
And, that in all their heat of taxing others. 
Not one of them, but lives himselfe (if knowne) 
Improbior satyram scribente cincsdo. 
What should I say, more ? then turne stone 

with wonder ! 55 

Nas. I never saw this play bred all this tumult. 
What was there in it could so deeply offend ? 
And stirre so many hornets ? 



tlTo tl^e Meaurr 171 

Jut, Shall I tell you ? 

Nas. Yes, and ingenuously. 

Jut. Then, by the hope. 

Which I preferre unto all other objects, 60 

I can professe, I never writ that peece 
More innocent, or empty of offence. 
Some salt it had, but neyther tooth, nor gall, 
Nor was there in it any circumstance, 
Which, in the setting downe, I could suspect 65 
Might be perverted by an enemies tongue. 
Onely, it had the fault to be call'd mme. 
That was the crime. 

Pol. No ? why they, say you taxM 

The Law, and Lawyers ; Captaines ; and the 

Players 
By their particular names. 

Jut. It is not so. 70 

I us'd no name. My Bookes have still beene 

taught 
To spare the persons, and to speake the vices. 
These are meere slanders, and enforc'd by such 
As have no safer wayes to mens disgraces. 
But their owne lyes, and losse of honesty.^ 75 
Fellowes of practised, and most laxative tongues. 
Whose empty and eager bellies, i* the yeere, 
Compell their braynes to many desp'rate shifts, 
(I spare to name 'hem: for, their wretched- 
nesse. 



172 ®ot^e Meaner 

Fury it selfe would pardon.) These, or such 
Whether of malice, or of ignorance. 
Or itch, t'have me their adversary (I know not) 
Or all these mixt ; but sure I am, three yeeres. 
They did provoke me with their petulant stiles 
On every stage : And I at last, unwillmg. 
But weary, I confesse, of so much trouble. 
Thought, I would try, if shame could winne 

upon 'hem. 
And therefore chose Augustus Caesars times. 
When wit, and artes were at their height in 

Rome, 
To shew that Virgil, Horace, and the rest 
Of those great master-spirits did not want 
Detractors, then, or practisers against them : 
And by this line (although no paralel) 
I hop'd at last they would sit downe, and blush. 
But nothing could I finde more contrary. 
And though the impudence of flyes be great. 
Yet this hath so provok'd the angry waspes. 
Or as you sayd, of the next nest, the hornets ; 
That they fly buzzing, mad, about my nostrills : 
And like so many screaming grasse-hoppers, J 
Held by the wings, fill every eare with noyse. 
And what ? those former calumnies you men- 
tioned. 
First, of the Law. Indeed, I brought in Ovid, 
Chid by his angry father, for neglecting 



gto ttie MeaiJer 173 

The study of their lawes, for poetry : 105 

And I am warranted by his owne wordes. 

Sape pater dixit^ studium quid inutile tentas ? 

Moeonides nullas ipse reliqutt opes. 

Trist. lib. 4. Eleg. lo. 

And in farre harsher termes elsewhere, as these : 
Non me verbosas leges ediscere^ non me no 

Ingrato voces prostituisse foro, 

Amo. lib. I. Eltg. 15 

But how this should relate, unto our lawes, 

Or their just ministers, with least abuse, 

I reverence both too much, to understand ! 

Then, for the Captaine ; I will onely speake 115 

An Epigramme I here have made : It is 

Unto true Souldiers. T^hat's the lemma. Marke it. 

Strength of my Countrey^ whilst I bring to view 

Such as are misse-cair d Captaines^ and wrong you^ 
And your high names; I doe desire,, that thence ,, 120 

Be nor put on you,, nor you take offence : 
I sweare by your true friend,, my Muse,, I love 

Tour great profession,, which I once did prove ; 
And did not shame it with my actions^ then,, 

No more then I dare,, now,, doe with my pen. 125 
He that not trusts me,, having vow^d thus much,, 

But*s angry for the Captaine,, still : is such. 

Now for the Players, it is true, I tax'd 'hem, 
And yet, but some ; and those so sparingly, 



174 QTo tlje HeaDrr 

As all the rest might have sate still, unqucs- 

tion'd, 130 

Had they but had the wit, or conscience, 
To thinke well of themselves. But, impotent 

they 
Thought each mans vice belong'd to their whole 

tribe : 
And much good doo't 'hem. What th'have done 

*gainst me, 
I am not mov'd with. If it gave 'hem meat, '35 
Or got 'hem clothes. 'Tis well. That was their 

end. 
Onely amongst them, I am sorry for 
Some better natures, by the rest so drawne, 
To run in that vile line. 

Pol. And is this all ? 

Will you not answere then the libells ? 

Jut. No. 140 

Pol. Nor the untrussers ? 
Jut. Neither. 

Pol. Y'are undone then. 

Jut. With whom ? 
Pol. The world. 

Jut. The baud ! 

Pol. It wil be taken 

To be stupidity, or tamenesse in you. 

Jut. But, they that have incens'd me, can in 
soule 



tlTo tl)r Heai3er 175 

Acquit me of that guilt. They know, I dare 145 
To spurne, or bafFull 'hem; or squirt their eyes 
With inke, or urine : or I could doe worse, 
Arm'd with Archilochus fury, write lambicks. 
Should make the desperate lashers hang them- 
selves. 
Rime 'hem to death, as they doe Irish rats 150 

In drumming tunes. Or, living, I could stampc 
Their foreheads with those decpe, and publike 

brands 
That the whole company of Barber-Surgeons 
Should not take off, with all their art, and play- 

sters. 
And these my prints should last, still to be read 155 
In their pale fronts: when, what they write 

'gainst me, 
Shall like a figure, drawne in water, fleete. 
And the poore wretched papers be employed 
To cloth tabacco, or some cheaper drug. 
This I could doe, and make them infamous. 160 
But, to what end ? when their owne deedes have 

mark'd 'hem, 
And, that I know, within his guilty brest 
Each slanderer beares a whip, that shall torment 

him, 
Worse,then a million of these temporall plagues : 
Which to pursue, were but a feminine humour, 165 
And, farre beneath the dignitie of a man, 

166 a. 1640 omits. 



176 ^otl^eKeaDer 

Nas. 'Tis true : for to revenge their injuries, 
Were to confesse you felt 'hem. Let *hem goe, 
And use the treasure of the foole, their tongues, 
Who makes his gayne, by speaking worst, of 

best. 170 

Pol. O, but they lay particular imputa- 
tions 

Jut. As what ? 

Pol. That all your writing, is meere rayling. 

Jut. Ha ! If all the salt in the old comoedy 
Should be so censur'd, or the sharper wit 
Of the bold satyre, termed scolding rage, 175 

What age could then compare with those, for 

buft'ons ? 
What should be sayd of Aristophanes ? 
Persius ? or Juvenal ? whose names we now 
So glorifie in schooles, at least pretend it. 
Ha* they no other ? 

Pol. Yes: they say you are slow, 180 

And scarse bring forth a play a yeere. 

Jut. 'Tis true. 

I would, they could not say that I did that. 
There's all the joy that I take i'their trade, 
Unlesse such Scribes as they might be proscrib'd 
Th'abused theaters. They would thinke it 

strange, now, ,85 

A man should take but colts-foote, for one day, 
And, betweene whiles, spit out a better poeme 



(ETo tl)e H^eaUer 177 

Then e're the master of art, or giver of wit, 
Their belly made. Yet, this is possible. 
If a free miiide had but the patience, 190 

To thinke so much, together, and so vile. 
But, that these base, and beggerly conceipts 
Should carry it, by the multitude of voices. 
Against the most abstracted worke, opposed 
To the stuff'd nostrills of the drunken rout ! 195 
O, this would make a learn*d,and liberall soule, 
To rive his stayned quill, up to the back. 
And damne his long-watch'd labours to the fire ; 
Things, that were borne, when none but the 

still night, 
And his dumbe candle saw his pinching throes :»oo 
Were not his owne free merit a more crowne 
Unto his travailes, then their reeling claps. 
This *tis, that strikes me silent, seales my lips. 
And apts me, rather to sleepe out my time. 
Then I would waste it in contemned strifes, 105 
With these vile Ibides, these uncleane birds. 
That make their mouthes their clysters, and 

still purge 
From their hot entrailes. But, I leave the mon- 
sters 
To their owne fate. And, since the Comick 

Muse 
Hath prou*d so ominous to me, I will trie 210 

If Tragoedie have a more kind aspect. 



178 31^0 tjie Hrauer 

Her favours in my next I will pursue, 

Where, if I prove the pleasure but of one, 

So he judicious be ; He shall b'alone 

A Theatre unto me : Once, I'le say, ^»5 

To strike the eare of time, in those fresh straines, 

As shall, beside the cunning of their ground. 
Give cause to some of wonder, some despight. 

And unto more, despaire, to imitate their 
sound. 
I, that spend halfe my nights, and all my dayes,2ao 

Here in a cell, to get a darke, pale face. 
To come forth worth the ivy, or the bayes. 

And in this age can hope no other grace 

Leave me. There's something come into my 

thought. 
That must, and shall be sung, high, and aloofe,2is 
Safe from the wolves black jaw, and the dull 
asses hoofe. 

Nas. I reverence these raptures, and obey 
'hem. 



This Comicall Satyre was firfl: 

acSted, in the yeere 
l6oi. 



By the then Children of ^eene 

Elizabeths 

Chappell. 



The principall Comoedians were, 

Nat. Field. \ / Ioh. Vnderwood. 
Sal. Pavy. > | Will. Ostler. 
Tho. Day. ) ( Tho. Marton. 



With the allowance of the M after ^Revells. 

Th'ti . . . Revells. 1 640 omits this page, but the list of actors is 
given on the page containing the list of Persons of the Play, 



0ott& to potta&ttv 

Title-Page: Poetaster. This, not TJie Poetaster (Gif- 
ford, Nicholson, etc.), is the title of the play as given in the quarto, 
1602, and the folios 161 6, 1640. The word is used a number 
of times in the play, and occurs also in Cynthta s Re-vels, 11, i, 
"ignorant poetasters." On the title-pages of the 1616 folio of 
E-very Man out of his Humour, Cynthia'' s Re-vels, and Poetaster 
appear the words *' A Comicall Satyre. " Entery Man in his Humour 
and The Case is Altered are each described in the title as " a Com- 
oedie. " 

Title-Page: Children of . . . Chappel. See The Child- 
ren of the Chapel at Blackfriars i^gj-idoj, by C. W. Wallace, 
Uni'versity Studies, University of Nebraska, vol. viii, nos. 2 and 3, 
1908. This company after 1603-04 was known as the " Children 
of the Queen's Revels." 

Title-Page: Et mihi . . . placet. Martial Epig. 7, 
12,4: 

To me from no one's blush is reputation pleasing. 

Title-Page: William Stansby. A printer and publisher, 
admitted to the Stationers' Company Jan. 7, 1597 (Arber's Tran- 
script of the Stationers^ Registers 1554- 1640, 2, 717. See also, 2, 
173 for notice of his apprenticing to "John Wyndet citizen and 
Stacioner of London.") He published from 1597 to 1639. ^ee 
D. N. B. 

Title-Page: Matthew Lownes. Admitted to the Sta- 
tioners' Company Oct. 1591. (Arber's Transcript, 2, 710. See also 
2, 115.) He published from 1595 to 1627. See D. N. B. 

3. Mr. Richard Martin. "This gentleman [Richard Mar- 
tin], who was bred a lawyer, and recorder of the city of London, was 
himself a man of parts, and a poet, and much respected by the learned 
and ingenious of his own age. See a more particular account of him 
in fVood''i Athenae Oxon. 1 vol. col. 441." Whalley. See also 
D. N. B. 



i^ote0 i8i 

3. Dedication. This is the only evidence that Jonson became 
involved in legal difficulties for his play. In the " Apologeticall 
Dialogue, which was only once spoken upon the stage, and all the 
answere I ever gave, to sundry impotent libells then cast out (and 
some yet remaynmg) against me and this play," Jonson admits 
having "tax'd" the players, but denies the accusation that he had 
tax d "The Law, and Lawyers" and " Captaines " as well as 
Players "by their particular names." 

We know nothing of the " sundry impotent libells " to which 
Jonson refers, unless indeed he means Satiromastix, and the charges 
for which Mr. Richard Martin answered. If Jonson was actually 
brought into court, there probably exists in London an official record 
of the fact and the specific charges against him, which up to the 
present time no one has yet discovered. The intention was to pre- 
vent the printing of the play, and the result of the action may be 
stated in the note appended to the Quarto, in which Jonson says that 
he had intended to give his reasons for the publishing of this book 
but was «* restrained " from doing so " by authority." Collier {An- 
nals I, p. 314 note) has the foUowing: 10 May 1601. Letter from 
the Privy Council bidding the Justices of the Peace to restrain plays 
at the Curtain in which the " players ... do represent upon the 
stage in their interludes the persons of some gent, of good desert and 
quality, that are yet alive, under obscene manner but yet in such 
sorte as all the hearers may take notice both of the matter and the 
persons that are meant thereby," etc. 

4. The Persons of the Play. Trebatius appears only in 
the foho which like the quarto omits Luscus, Tibullus and y^sop. 

5. After the Second Sounding. Three flourishes of a trum- 
pet announced a play, after which appeared the Prologue Cynthia's 
Ret'e/s and E-very Man out of hh Humour have a preliminary pas- 
sage '< after the Second Sounding." 

5. Envie. Envy is frequently referred to and personified in Eliza- 
bethan plays. «' Enter Envy his arms naked, besmeared with blood." 
Lodge's Mucedorus^ Induction, 1598. 

5. Arising in . . .stage. Probably a trap-door was used as 
m Catihne i, i. "The ghost of Sylla " '' rises " and " sinks." 

S> 3- Th' Arraignment. The title of the play as given on 
the board, which in Elizabethan times was placed on the stage where 



1 82 Jl^otesf 

the audience could read it. The same method was employed to indi- 
cate scenes and changes of scene. This is referred to by Envy, who at 
line 27 says, The scene is, ha ! Rome ? Sidney refers to this custom 
in his Apologie for Poetrie (Arber's Reprint of the 1595 edition) : 
'* What childe is there, that comming to a Play, and seeing Thebes 
written in great Letters upon an olde doore, doth beleeve that it is 
Thebes?'' (p. 52). There are numerous references in plays to 
similar indications of scenes. For a discussion of the mode of pre- 
senting Elizabethan plays see " Some Principles of Elizabethan Stag- 
ing," G. F. Reynolds, Modern Philology, 11, 582, also Elizabethan 
Drama, F. E. Schelling, i, chap. iv. 

5» 3- ^ "appears suddenly about 1575 and is exceedingly com- 
mon about 1600 ; origin unknown. The suggestion that it is the 
same Ay, adv., ' ever, always,' seems set aside by the fact that it 
was at first always written I, a spelling never found with Ay. But it 
may have been a dialect form of that word. . . ." N. E. D. 

Cf. Romeo and "Juliet, in, 2: 

'♦ Hath Romeo slain himself? Say thou but I, 
And that bare vowel I shall poison more 
Than the death-darting eye of cockatrice," etc. 

5, 6. wormes. *' Wormes, the generic English word forsnakc, 
is very common in our ancient writers." GifFord. 

5,14. These fifteene"weekes. It was evidently a common 
thing to accuse Jonson of slowness. Tucca does so in Satiromastix 
(see 297, 447-449J 385, iiy). Jonson mentions here the time in 
which he wrote Poetaster, and in the Prologue to Volpone, in which 
he probably refers to the accusations of Satiromastix, he states that 
he wrote the play in five weeks. 

6,20. Then. The form used in the folio 161 6 and in the quarto 
1602, except 3, 4, 292, where the word is spelled "than." The 
folio of 1640 uses *' than." Dr. Mallory. 

6, 27-28. The Scene is. See 5, 3. 

6, 28. Cracke ey-StringS. There was an old idea that the 
optic nerves and the muscles which retain the eyes break with the 
shock of grief or at death. There are a number of allusions to it. Cf. 
Shakespeare's Cymbeline, i, 3, 17; Chaucer's Man of Laiuts Tale^ 
1. 669 ; Marston's Antonio and Mellida I, I, I, 3-4. 



iPotefif 183 

6, 30. I am prevented. The old meaning of the word was 
to go before ; hence the later idea, obstruct. Here the meaning is 
that the author, in making his scene Rome instead of London, has 
anticipated criticism and made it more difficult for players and '< poet- 
apes " to " poison all they hear or see with senseless glosses and allu- 
sions," etc. The Prologue speaks of the necessity of the author's 
presenting *' his scenes fortie-fold proofe against the conjuring meanes 
of base detractors and illiterate apes," etc. 

6, 34. Present State : i.e. London instead of Rome. 

6, 35. Players. . . . Poet Apes. Jonson's Epigram 56 is 

"On Poet-Ape." See Satiromastix^ 3I3> 54-56- The players in- 
tended were doubtless those of some other company. See 73, 177— 
181, where they are again referred to, and also the Apologetical 
Dialogue^ where Jonson admits having taxed them. Satiromastix, 
392, 393, is Dekker's reply: ** All shall be Poet-apes but you." 

6, 36. Basiliskes eyes. A fabulous serpent which derived its 
name from a spot on its head resembling a crown. Another story is 
that it sprang from a cock's egg ; hence the name " cockatrice." 

6, 38-39. Wrest, pervert, and poyson, etc. These lines 
spoken by Envy show that Jonson anticipated exactly what hap- 
pened and was not ingenuous in insisting that only perversion of his 
meaning could make it personal and individual satire. Some persons 
he admitted having satirized, bui many others evidently thought they 
too were assailed. Marston had written a similar warning against 
the mis-applying of his satires, which he appended to the Scourge 
of Vmame{ic,()%). 

8, 6. Armed Prologue. Critics have noticed the following 
facts: The Epilogue to Cynthia s Re-veh closes with the line — 

" By 'tis good, and if you like* t, you may." 

Marston' s Antonio and Mellida which followed soon after contained 
the following apparent allusion to Jonson's line : 

Andrugio. Gentlemen, though I remain. An Armed Epilogue^ 
[he had been in armour in the previous scene], I stand not as a per- 
emptory challenger of desert, either for him that composed the Com- 
edy, or for us that acted it. . . . 

In Poetaster Jonson has " an armed Prologue " because '* 'tis a 
dangerous age. " Shakespeare has an *' armed Prologue" in Troi- 



1 84 0Ottii 



lus and Creisida and apparently glances at Jonson's Prologue in the 
lines 

hither am I come 

A Prologue Arm' d, but not in confidence 

Of author's pen — 
Those who, like Dr. Small {Stage ii^arrel, p. 142), believe that 
Troi/us and Cressida was '* the purge " administered to Jonson by 
Shakespeare (mentioned mTAe Return from Parnassus, 11) accept the 
"armed Prologue" as part of the ridicule. Mr. Sidney Lee, how- 
ever {Life of Shakespeare, 1899, pp. 228-229 note), takes the lines 
as a definite statement that Shakespeare had no share in the "war 
of the theatres." 

8, 15-16. once more, sweare that his play were 

good. The Epilogue toCynt/iia's Rr-vcls, 1 600, closed with the lines, 
I'll only speak what I have heard him say 

«* By 'tis good, and if you like't, you may." 

In the same play Arete says of Crites (Jonson), 5.-3. 

" And who, though all were wanting to reward 
Yet to himself he would not wanting be." 

9, 27. envies. Accent on last syllable to suit the metre. 

10, 4. Master Ovid. The original of this character is the 
Roman Ovid, as Jonson tells us in the Apologetical Dialogue 11. 103-6. 
Dr. Grosart remarks ; " Of course Ovid, Jr. was not Marston any 
more than Ovid, Sr. was his father. Yet it is just possible that 
preliminary to bringing Crispinus [Marston] on the stage, Jonson 
hit at him through this Ovid, Jr." "It may be noted . . . that 
Edward Knowell, in E'very Man in his Humour, neglected other pur- 
suits and gave his time to poetry contrary to the wishes of his father; 
and also that Fungoso in E'very Man out of his Humour, neglected 
his study of law." See. . . The War of the Theatres,'^. 108. While 
none of these characters is Marston, it is interesting to note that in the 
willofMarston's father is the following passage: "tosd. son John my 
furniture etc. in my chambers in the Middle Temple my law books 
etc. to my sd. son whom I hoped would have profited by them in 
the study of the law but man proposeth and God disposeth . , .** 
This will was proved Nov. 29, 1599, and is printed in MarstorCi 
Poems ed. Grosart, Introduction. 



Jpote0 185 

10, 5-6. songs and sonnets. This was the title of Sur- 
rey's Poems 1557. Nashe appears to have first brought the term 
into vulgar, slangy use, and later it is common amongst the dram- 
atists, cf. Anatomic of Absurdities, 15895 Grosart, Nashe, I 14. 
See also Notes and ^^ueries, 9, xii, p. 405, H. E. Hart. ' 

10, 6. Gowne and cappe: i.e. of lawyers and members of 
the Inns of Court, also of University students. 

10, 12. untoward thing this poetrie is. In the quarto of 

L-very Man tn hts Humour is a defense of poetry, om.itted from the 
foho. The situations in the two plays are somewhat similar. 

11, 19. humour. See the definition of " humour" given by 
Jonson in the Induction to E-very Man out of hts Humour, 

. . . when some one peculiar quality 
Doth so possess a man, that it doth draw 
All his affects, his spirits, and his powers, 
In their confluctions, all to run one way, 
This may be truly said to be a humour. 

11,27-8. the mad skeldring captaine. "Skeldring" 
was swmdlmg, especially begging under pretense of being a soldier. 
See 16, 58. 

II, 28. velvet armes. Secalso67, ^o- ** The English and 
French have one peculiar fashion, which I never observed in any other 
part, namely to weare scabbards and sheaths of velvet upon their ra- 
piers and daggers: For in France very Notaries use them in the Cities, 
and ride upon their footecloaths, or in Coaches (both hired), and in 
England men of meane sort use them." An Itinerary, Fynes 
JVtoryson, London, 161 7, Part iii, Book 4, ch. 2, 178. 

11,33- Pantilius Tucca. The name was derived perhaps 
from Horace {Sat. i, 10, 78) Cimex Pantilius, a term of contempt 
and {Sat. i, 5, 40, and i, 10, 81) Plotius Tucca. In Guilpin's 
Skialetheia, 1598, Satyre Preludium, appears " Captaine Tucca" 
similar to Jonson's. He is the same general character as Bobadil of 
Every Man in his Humour, and Shift of E-very Man out of his 
Humour, the braggart soldier. Dekker says in the dedication of 
Satiromastix that the original of Jonson's Tucca was a " Capten 
Hannam." 

II> 39- Gods a mee. A short form of God save me. 



1 86 ipotetf 

11, 40. castalian mad. Castalia was a spring on Mt. Par- 
nassus sacred to the muses. Poets were regarded as mad or inspired. 

12, 43. God be with you. Shortened to " Good bye," the 
common expression in taking leave. 

12, 44. poeticall . . . furies. These allusions to Casta- 
lia, furies, muses, etc. are part of Jonson's genuine classicism of ex- 
pression. Cf. Cicero, Leg. 1, 14, 40, ut eoi agitent imtctenturqut 
Furtae, etc. 

12, 49-13, 90. Envie . . . aspire. There are two versions 
of this Elegy of Ovid {Lib. i. ylmor. El. 15) so similar that the 
question of authorship is raised. Among the translations of Ovid's 
Elegies published in I 599 as by Christopher Marlowe is one of these 
versions. In the third edition of this work (2nd Middleburgh, see 
Fleay, Biog. Chron. i, 367) are two versions, the first as by Mar- 
lowe, and the second as *' by B. I. " The second version differs in only 
one line (1. 37) from the translation in Poetaster by the substitution 
of "The frost-drad myrtle" for *' Frost-fearing myrtle." The 
version attributed to Marlowe differs in many particulars from that 
of " B. I." but in none which is not easily accounted for by the 
polishing or rewriting of his first version by a careful scholar like 
Jonson. The fact that a version, as by Marlowe, appeared among 
the translations published in 1599 does not necessarily prove that 
Marlowe was the author. This translation, in both versions, is so 
much more accurate than the earliest, attributed to Marlowe, that 
it would seem likely that a more scholarly person than Marlowe 
was the translator, even though we did not possess the version in 
Poetaster. Dr. Mallory has discussed at length the authorship of 
this translation {Poetaster.^ ed. Mallory, p. xcvi-ciii), but there is 
no evidence on which to base a decision, except what is stated above. 

ionson's abilities as a scholar and his many translations, taken with 
is general reputation for " honesty," make it improbable that he 
used the work of another man without giving credit. As Marlowe 
had been dead for six years before the volume of translations appeared, 
Jonson may have contributed the translation to the volume which 
was to be published in Marlowe's name, and then afterwards claimed 
his own work, or the version published in 1599 may have been 
Marlowe's and the two other versions Jonson's, the similarity being 
due to the fact that all were translations of the same original. There 



iliote0 187 

is no reasonable doubt that Jonson used in Poetaster a translation of 
his own. 

12, 51. the line from whence I sprung. Ovid tells us 

( Trist. 2, III) that his family, though humble, was in nobility infe- 
rior to none — ** It was remarkable for neither wealth nor poverty," 
and was of Equestrian rank. 

12, 57. Homer will live. Ovid wrote wWr Maeonidei, 
using a name applied to Homer on the assumption that he was born 
in Maeonia, a part of Lydia. Hesiod (1. 59) is called by Ovid yfi- 
■craeus, from. Ascra, the town in which Hesiod lived. The 1 599 
version of the translation, attributed to Marlowe, has '* Ascraeus." 

12, 65. Whil'st slaves be false. In the Apology for 
Actors^ 1612 ? (Sh. Soc. 1841, p. 57) Thomas Hey wood translates 
this passage: 

While ther's false servant, or obdurate sire 

Sly baud, smoot whore, Menandros wee'l admire. 

^^3> 73- Tytirus, Tillage, iEnee. The reference is to 
the Eclogues, Georgics and ^tteid of Virgil. Ovid used fruges to 
indicate the Georgics. Jonson does not translate fruges by *' Tillage," 
but uses that word to mean the Georgics, for which it is quite as good 
as Ovid's word. 

13. 83-84- me let bright Phoebus swell, with 

cups. Cf. 50, III, 1,8, when Horace writes, " Swell me a bowl 
with lustie wine," in some verses which are parodied in Satiromas- 
tix, 280, 1-20. 

13, 87. •' Envie, the living, etc. The quotation marks 
here and elsewhere in Jonson' s works are used to call attention to 
lines or ideas which he regarded as important. They do not indi- 
cate lines taken from the writings of others. Almost all allusions 
to Envy, in this play, have reference to Jonson's relations to his 
contemporaries, though here he is, of course, translating from Ovid. 

14, 9-1 1, poetrie ? . . . play-maker? A number of 
important treatises antagonistic to the popular stage appeared during 
the latter part of the 1 6th century, and Jonson in Every Man in his 
Humour, Cynthia^s Re'vels, and Poetaster is perhaps replying in a 
manner to these attacks. 

14,13-15, atragoedie . . . call'd Medea. Ovid wrote 



1 88 jpoteflf 

a tragedy called Medea, to which Quintilian refers (x, I, 98). 
Ovid also refers to it (^m. a, 18, I 3), though not by name, and 
states that love caused him to abandon tragedy. The play has not 
come down to us. 

15, 10. shot-clogge. Explained by the words, "to make 
suppers and bee laught at," i.e. one who pays the •♦ shot " or tavern 
charge. 

15, 21-22. set thee on the funerall pile. Cf. Cicero, 

Tusc. 1,35. Aliquem in rogum imponcre. 

15, 19-30. Master, of worship. Q. " Knight of wor- 
shippe." The word "KnigKt" was changed to something else 
in the folio in every instance in which it occurs. Jonson may have 
been rebuked for satirizing "Knights." Cf Satiromastix, 39I, 
363-371. See also Ben Jomon, H. C. Hart, vol. 1, p. xlii. 

15, 38-39. i' your element. Satiromauix, 286, 165-166, 
ridicule Jonson's use of the word. Cf Tivelfth Night, in, 1, 58, 
"1 might say Element but the word is overworn." 

15, 42 and 16, 62. these players . . . they are i' the 
statute. The statutes of 14 Eliz. C. 5 and 39 Eliz. C. 4. regu- 
late theatres and actors. The latter (1597-8) is entitled " An Acte 
for punyshment of Rogues Vagabondes and Sturdy Beggars," among 
which classes it includes players who are not under the protection 
of a nobleman. It says: * All Fencers Bearewardes common Play- 
ers of Enterludes and Minstrelles wandring abroade, (other then 
Players of Enterludes belonging to any Baron of the Realme, or any 
other honorable Personage of greater Degree, to be auctoryzed to 
play under the Hand and Seale of Armes of Such Baron or Person- 
age)' shall be stripped whipped and imprisoned or returned to their 
own parishes." Cf. also: " The rogue that liveth idly is restrained, 
the fidler and plaier that is maisterlesse is in the same predicament, 
both these by the law are burned in the eare, and shall men more 
odious scape unpunished?" Chen\c, Kind-Harts Dreame, 1 592, 
Percy Society, 1842, p. i6,ed. by E. F. Rimbault. Jonson's attack 
on lawyers and players was intended only for those who disgraced 
these professions. See his dedication of Every Man out of his 
Humour to the Inns of Court, and his tribute to Coke, Under- 
woods, LXV. 

16, 57-58. honest decayed commander. Cf. Jon- 



0Ott& 189 

son's Epigrams 108 and 115 for forther ridicule of pretended soldier, 
and assumed " honesty. ouiuici» 

-^iWl""' ,^°""^^^00d COmoedies. Cf. Satiromasrir, 
314, 76 and 347, 73-82. ' 

clJ^W^^; ^^i^^^f- M' The Statute describes players so 
cleariy that no other description or announcement concerning their 
low position IS needed. ^ 

- iwfs''' - IZ'^^i: '^^'' 'T'"'"" ^'" '50, ^74) isan adverb 
T ' ~ '"f^^y- ^^ 'S P''"'^ed variously : Iwis, I wis, I wisse 

h. Tr"' ^^'.'""'^^ '^«^^ i^ apparently mistaken for the pronoun l' 
but the word IS from O. E. Gewis 5 M. E. iwisse. See V E. D. 
10, (,7. edicts: really proclamations of Roman magistrates: 
edict ore",'"''"/ J.^'^^'-'f'^ concerning players, etc., 16, 62. The 
edict of Salvius Juhanus classes Roman actors with criminals, 
th. r^h 1°' Tk^I * student you are. This has reference to 

n t^e 1'/ n / ^""''" °''^ ^^ ^'^ ^^^^^^' °f which Jonson speak, 
in thcApol. Dialogue, 172, 103, 11 1 : 

I brought in Ovid, 
Chid by his angry father, for neglecting 
The study of their lawes for poetry : 
And I am warranted by his owne wordes. 
Saepe pater dixit, studium quid inutile tentasf 
Maeonides nullas ipse reliquit opes. 

(Jrist. lib. IV, Eleg, 10.) 

And in farre harsher termes elsewhere as these : 
Non me verbosas leges ediscere^ non me 
Ingrato -voces prostituisse foro. 

{Amo. lib. I, Eleg. 15.) 

II, ^U ^^' ^^°^ ^°"' ^^^®^* ^^- ^'^'"^ ^'"' '" ^" Humour, 

" He would be ready 
To blow the ears of his familiars 
With the felse breath of telling what disgraces, etc.'* 

17, 85. TibuIIus, and Propertius. This passage ^is an 



190 0Ott& 

amplification of the idea contained in Ovid's lines quoted by Jonson 
in the y^po/. Dialogue, (quoted above, 17, 70). 'The meaning is 
— If Maeonides (Homer) himself left no wealth [nullas opes) 
what chance have you, who possess only an allowance (exhibition), 
to earn "a competencie." Tibullus and Propertius *' are gentle- 
men of meanes and revenew now," and are not dependent on their 
poetry. 

The poets mentioned by Ovid, Sen. are thus referred to by Quin- 
tilian in a classic passage. Elegia quoque Graecos provocamus, cujus 
mihi tersus atque elegans maxime vidctur auctor Tibullus. Sunt 
qui Propertium malint. O-viJius utroque lascivor: sicut durior Cal- 
lus, iiluintilian, x, I, 93. 

17, 94. worme-eaten statue. Juvenal, Sat. i, 131, sayi 
of a statue cu^us ad ejfig^iem nan tantum meiere fas est. Persius has a 
passage. Sat. 1-114, p-tt'i, sacer est Incus, extra meiite! 

17, 9v but with hallowed lips. The context requires 
some word after "but " to complete the sense. Dr. Mallory re- 
jects the suggestion of Nicholson (Mermaid Series) that we must 
supply ** approached " or " worshipped," and says, '* However in- 
congruous the ideas as given in folio 16 16, we are hardly to suppose 
an implied interpolation." If we connect the phrase beginning 
with "but" with the question " what was he ? " there is still the 
implication of some verb or participle, like "speaking." 

18, loo-ioi. in his sleepe : i.e. he was so mean and 
unaccustomed to " a good meale ' ' that he scarcely ever even dreamed 
of one. In the Staple of Neivs 11, i, 15 is a similar expression 
concerning Pennyboy, " a sordid rascal one that never made good 
meal in his sleep, but sells the acates are sent him." Cunningham 
writes "Archdeacon Nares . . . suggests that the second line 
should be altered by transposing the word but, making it read " good 
meal but in his sleep, sells," etc. Dr. Mallory is probably right in 
thinking the suggestion unnecessary. 

18, 106. made him divine: referring to the words im- 
mediately preceding " have eternis'd him." 

18, 108. senators revenue. It was required by Roman 
law that a senator must possess a large fortune. Suetonius (j^ugus- 
tus 41) states that Augustus increased the amount from 800,000 to 
1,200,000 sesterces = about ^60,000. 



18, 110-112. place. . . litter. All marks of distinction 
due to wealth, cf. Juvenal, Sat. ni, 239-242. 

Si vocat officium, turba cedente vehetur 
Dives et ingenti curret super ora Liburno, 
Atque obiter leget aut scribet vel dormiet intus. 
Namque facit somnum clausa lectica fenestra. 

18, 113. old Bias. '* Bias was one of the seven sages of 
Greece, Immortality was cheaply purchased in his days, for, to 
speak tenderly, there is no * great matter ' In such of his sentences 
as have come down to us." Gifford. Bias lived about 600 B.C. 
at Priene in Ionia. 

18, 118. disclaiire in him: i.e. relinquish claim in him. 
We omit the preposition. 

19, 121. unfashion'd body of the law: i.e. not ex- 
pressed in poetic form. 

19, 123. Runne smoothly . . . elegies. Although Ovid 
sen. is not a punster, he evidently amuses the audience by the pun 
on elegies and 1 e gs which "runne." 

19, 125. take him too quickly: i.e. interrupt him, are not 
patient enough with him. 

19,136. planet . . . spheare. The idea that life is con- 
trolled by the influence of the stars and planets is common in Ehza- 
bethan literature. Jonson is using here a figure drawn from the 
Ptolemaic system, in which each heavenly body was supposed to be 
fixed in a transparent spherical surface which revolved with other 
similar ' * spheres ' ' about a common centre. Our expression ' ' sphere 
of activity " is derived from the old idea of the "spheres." 

19, 137-8. the law . . . happy, etc. Giffbrd thinks that Jon- 
son had in mind the Latin beatus when he used the word " happy," 
and that " happy " here means, as heatus often did, " rich." 

19, 138-9. any other merit: i.e. any other advantage 
to be derived from the law. 

19, 139. simple scholer: i. c. dull or stupid scholar, dunce. 

19, 140. be a law^yer. "These and what follow, are pro- 
bably the passages which gave offence to the professors of the law, 
Jonson's old antagonist thus alludes to them, ' Thou hast entered 
actions of assault and battery against a company of honourable and 



192 J^Ott0 

worshipful fathers of the law, thou wrangling rascal : law is one of 

the pillars of the land.' &jr/>omflir/jc " [362, 227-131]. Giffbrd. 

19, 142. my little Grammaticaster. "The earliest 

known use of 'Grammaticaster' is in Poetaster (i^ i), where 
Tucca calls Ovid ' my little grammaticaster,' and the use of ' little* 
is to be observed. [Drayton was a short man.] Drayton has the 
word about the same time in his Preface to the Baron's f^f^ars : 
* Grammaticasters have quarrelled at the title of Mortimeriados'j 
a challenge which Jonson notices in his Conversations'' (H. C 
Hart, Ben yonson, 11, xxii). The word grammaticaster ^ meaning an 
inferior grammarian, is mediaeval Latin. N. E. D. 

19, 143. Mathematiques, etc. Overbury's Characters is 
the source of much information concerning Elizabethan times and 
manners. He says on ' A meere Common Lawyer* '^^ Grammar hcc 
hath enough to make termination of those words which his author- 
ity hath endenizon'd. Rhetoricke some; but so little, that its thought 
a concealement. Logicke enough to wrangle. Arithmeticke enough 
for the ordinals of his yeare books : and number-roles : but he goes 
not to multiplication ; there's a statute against it." 

19, 148. Three books. Possibly the three mentioned by 
Sir John Davies, Epigram, In Publium. 

Which for such filthie sports [i.e. bear-baiting] his books forsakes 

Leaving old Plowden, Dyer and Brooke alone, 

To see old Harry Hunks and Sacarson [bears]. 
Cf. also E'very Man out of his Humour^ 11, I. 

"There's Plowden, Dyar, Brooke and Fitz-Herbert. " 
Judge J. M. Gest of Philadelphia writes: *' I think it worth noting 
that William Fulbeck, who wrote 1599-1600, in his Direction or 
Preparation for the Study of Laiv, expressly intended for the guid- 
ance of law students . . . does not make it appear that three books, 
or, indeed, any special books were considered to constitute a re- 
cognized curriculum for the student. " Jonson is simply ridiculing 
the small amount of learning apparently needed by a lawyer. 

20, 150. when. The relative is used for the demonstra- 
tive " then," indicating a transition in thought, or there is an ellipsis, 
** When you are a lawyer," 

20, 150-151. chev'rill conscience. Like leather made 



i^ote0 193 



from the skin of a kid (Fr. che-vreau), pliable, easily stretched. 
Cf. Jensen's Epigram 'iJ On Chcveril the La'wyer und 54 On Che- 
veril^ and Shakespeare's Henry f^lll, 11, 3, " Your soft chevril 
conscience." 

20, 152. Alcibiades: 21, 186, Lucullus. Both appear 

in Timon of Athens (c. 1606, Fleay). Allusions to them are fre- 
quent. They were noted for their wealth and luxurious living. 

20, 158. old boy. The actors were actually boys of the 
Chapel Children Company. This may explain the use of " little 
old boy," etc., 21, 175. 

20, 162-163. Janus . . . his back-face. Janus was an old 
Italian deity, the sun-god, and was represented with two faces, one 
in the front and the other in the back of his head. Cf. Ovid F. 
1, 245. 

20, 164. Intend that: i.e. attend to, devote yourself to that. 

20, 164. I will allow thee. The "allowance" of Ovid 
jr. is referred to, 1 7, 88, as his '* exhibition." 

20, 169. mine eyes may drop: i.e. shed tears. 

20, 173-174. Asinius Lupus, a word. Ovid sen. 
walks aside with Lupus, and does not attend to Tucca's remark al- 
though he hears it. After speaking with Lupus, he returns and 
addresses Tucca. 

21, 176. Cothurnus there: i.e. Ovid jr., who is here 
called ''Cothurnus." The Cothurnus was a kind of buskin or 
Greek boot worn in acting tragedies. The reference is to Ovid's 
play Medea. Or Tucca may refer to Lupus the Tribune. 

21, 177. To borrow some ten drachmes. A Greek 

coin of different value at different times and in different places. The 
Attic drachma was worth usually about a franc or twenty cents. The 
Roman silver denarius was of about the same value as the Attic 
drachma. Jonson uses the name of the Greek coin in a Roman 
play. 

21, 179-180. Sir ... to you (to Lupus). This is the 
conclusion of the private conversation with Lupus. Lupus was aid- 
ing Ovid sen. in his efforts to induce Ovid jr. to give up poetry for 
law, and for this assistance Ovid sen. would be "beholding" to 
him. 

21, 182. my flowre o' the order. In the quarto Tucca 



194 jpote0 

had addressed Ovid sen. as my '* little Knight Errant " at line 175. 
As all references to " Knights " were omitted from the folio, the 
reading was changed to "my little old boy." " Flow re o' the 
order," a reference to knighthood, was not changed. The Ovids 
were, as Dr. Mallory remarks, "an ancient equestrian family," so 
that references to knighthood were correct in a Roman pby. 

21, 185-186. my noble Lucullus. L. Licinius Lucullus, 
the conqueror of Mithridates, was famous for his wealth and luxury. 
Hence the appropriateness of the next title by which Tucca addresses 
Ovid sen. (1. 189), "the man of warres Meccenas." Lucullus, 
wealthy and generous, was to be to soldiers what Meccenas was to 
poets. 

21, 187. old Stumpe. Is this an allusion to the fact that the 
character was acted by a boy ? (Cf. The First Part of Jeronimo^ il, 
3, 65, "little Jeronimo " and also in, I, 33-38) or to the fact 
that Ovid walked " stiffly as an old man " as Dr. Mallory suggests 
in his Glossary. 

21, 187-188. Honour's a good brooch. "The fashion 
of wearing some kind of ornament in the front of the hat is noticed 
by all our old poets. These brooches were sometimes of great value, 
and formed of jewels set in gold or silver (see Massinger, vol. iv, 
p. 213) and sometimes of copper, lead, etc., nay, so universal was 
the mode, that to accommodate the poor, it was found necessary to 
form them, like the boss of the Romans, of yet ruder materials, 
pasteboard and leather. The last is mentioned by Dekker, * Thou 
shalt wear her glove in thy worshipful hat, like to a leather brooch.* 
Satiromastix" [32I, 164], Giffbrd. 

21, 191. hee: meaning the Roman Meccenas. 

21, 193. has staled ■within: i.e. within the tiring house. 

21, 195-196. speakeitout: In order that all might hear and 
believe Tucca to be an important person, from his association with 
Agrippa. Dr. Nicholson suggests that M. Vipsanius Agrippa is 
meant. He was the second husband of the Julia who appears in 
Poetaster^ and was a man of great prominence. Tucca might have 
boasted of his acquaintance. We do not know who the Agrippa here 
mentioned was, or even that any actual person was intended. 

22, 208-209. Staggers . . . your tongue. Tucca was a 
Stutterer, a fact which is referred to in several passages. Cf. Poetaster, 



il^otrfif 195 

108, 86, he ** begins to stut for anger," also Satiromastix, 286, 
164; 303, 78. 

22, 211. a talent. Tucca is merely mentioning a large sum 
to impress his hearers. The '* talent" differed in value in different 
Greek States, the Attic talent being worth about ^1200. The 
Romans had two "talents," worth respectively $500 and ^375. 

22, 213. nut-cracker. A term applied by Tucca to his boy. 
The eating of nuts was a common practice in the Elizabethan 
theatre. " Nucis emptor (Horace, ^rs P. 249). . . . Jonson 
translates nutcracker.^'' Mallory. We have kept both the thing and 
the name in our " peanut-gallery " of a theatre. 

22, 216. my followers. Tucca had only the two Pyrgi, but 
spoke in lofty terms to appear important. "There is some pleas- 
antry in making Agrippa, the first man in the State, indebted to 
this beggarly captain." Gifford. 

22, 218. my jerkin. Tucca wore a leather jerkin which is 
alluded to several times in Satiromastix, 286, 165, "poor greasie 
buffe Jerkin," 299, 501, " scurvy leather captaine." 

22, 218-219. Away, setter . . • my little tumbler. 

" Setter " is used of a man who is considered as performing the office 
of a setter — that is, one who indicates to his confederates persons 
whom they can rob. Halliwell \Arch. and Pro-v. Dice. 1847) de- 
fines Tumbler as " A kind of dog formerly employed for taking 
rabbits. This it effected by tumbling itself about in a careless man- 
ner till within reach of the prey, and then seizing it by a sudden 
spring." 

22, 219-220. this old boy , , . him. Ovid sen, . . . 
Agrippa. 

22, 224. my little sixe and fiftie. The play was per- 
formed by boys, hence perhaps the term "little" and the term 
"boy," so much used byTucca (see above, 20, 158). Dr. Mal- 
lory notes as "an interesting coincidence," Simon Eyre^ My Liege 
I am six and fifty yeare old. {^The Shoemakers Holiday j Dekker, 
Pearson reprint, vol. i, p. 73.) 

23, 227. thou hadst not this chaine for nothing. 
This refers to a torquis (or torques) or twisted gold chain presented 
to a Roman soldier for bravery or worn by men for ornament. Dr. 
Mallory quotes the passage from Nares, which refers to the chain 



196 /^Otffll 

worn by the Lord Mayor and Aldermen. Ovid sen. was a Roman, 
and the passage from Nares is perhaps not applicable to him, though 
it is applicable to the passage in Satiromastix, where Dekker'i Tucca 
deprives Sir Quintilian of his chain, for he was not a Roman. 

23, 228-229. chymaera's . . . monsters. Idle delusions. 
The original *' Chimaera " was a monster slain by Bellerophon. 

23, 230. brave boy: alluding to the deed for which Ovid 
sen. had received the neck chain (?). 

23, 231. Better Cheape. "At a less price. C/tw/) is market, 
and the adjective gooJ, with its comparatives, is often joined with 
it by our old writers ; thus we have continually good cheap, hetter 
cheapo etc. for cheap, cheaper, and cheapest." Gifford. 

23» 237-138- Sparke . . . put out. Cf. Saliromastix, 317, 
44-45, for similar puns. 

23, 238-9. come hither, Callimachus, etc. This is 
addressed to Ovid jr. while Ovid sen. is getting out the ** six drach- 
mes " to give to Tucca. At line 247 Ovid sen. hands Tucca the 
money and is asked, " 'Tis right, old boy, ist ? " to which Ovid sen., 
who is disgusted with Tucca, replies, " You were best tell it (i.e. 
count it) Captaine." As Ovid jr. appears as a writer of elegies, the 
allusion to Callimachus is appropriate. 

23, 241-245. they are . . . seame-rent sute. Perhaps 
Dekker may have had this passage in mind when he wrote, '* Good 
Pagans, well said, they have sowed up that broken seame-rent 
lye of thine, that Demetrius is out at elbowes and Crispinus is 
falne out with Sattin heere," Satiromastix, 3^4, 282. Of course 
Dekker had especial reference to Poetaster^ 80, 365 and 53, 79-83. 

23, 245. emblemes of beggerie. An "emblem" was a 
picture, or symbol, often accompanied by verses or a motto. 

24, 249-50. honest horse-man. Referring to 20, 171, 
" are my horses come .? . . . they are at the gate . . ." and also 
to the fact that Ovid sen. was ejues, *'a horseman," and also "a 
knight." 

24, 250. and thou old bever. Addressed to Lupus, who 
was a Tribune and wore a helmet with a "beaver." (?) 

24, 250-251. Romane, when ... to town. Romans 
liked to be addressed as such. Ovid sen. had come from his coun- 
try place to visit his son, who was in Rome supposedly studying law. 



0ott& 197 

24, 258. halfe a share. A share was a portion of the re- 
ceipts of the theatre. Actors might become, as some did, '* sharers," 
as distinguished from "journeymen," see note 80, 367. There 
are numerous references to "shares" and "sharers." Cf. 71, 
128, **a quarter share," and 82, 405. *♦ Seven-shares and a 
halfe ' ' was probably the manager or chief owner. Cf. also T/ie Gu/s 
Horn-Booke (Temple classics, p. 48) " the covetousnes of sharers," 
(p. 53) ** curse the sharers." Jonson was a "sharer" in 1597, as 
noted by Henslowe [Diary, ed. Greg, i, 47): " R ofBengemenes 
Johnsones Share as ffoloweth 1597B; the 28 of July 1597 iijs ix.d." 

24, 265-267. the gods of Rome blesse thee, . . . 
And give me stomacke to digest this Law. Dr. Mal- 

lory suggests that this is a sort of parody or reminiscence of the re- 
sponse in the Book of Common Prayer (1552, etc. ), which follows 
the reading of each of the Commandments, ** Lord have mercy upon 
us, and incline our hearts to keep this Law." Line 268 makes it 
almost certain that the suggestion is correct, 

24, 269. O sacred poesie, thou spirit of artes. 

The 1640 folio and some copies of the 1616 folio read " Ro- 
mane artes." Whalley mentioned Romane as making the verse 
"too long by a foot" and as being "an unmeaning epithet." 
He evidently did not know of the differences in reading. Q. 
omits Romane. This passage is practically a repetition of the de- 
fence of poetry made by Lorenzo, Jr., in the quarto form of E-very 
Man in hit Humour^ omitted in the folio. It repeats also the ideas 
of the Prologue to Cynthia^ i Rt'vels, and of E'very Man out of his 
Humour (Induction). 

25, ^73- guiltlesse povertie. There are other allusions to 
Jonson's poverty in his plays. Drummond (1619) wrote : " Sundry 
tymes he hath devoured his bookes, [i.e.] sold them all for ne- 
cessity'^ [Conv. p. 22). '*Of all his Playes he never gained two 
hundreth pounds" (p. 35). " He dissuaded me from Poetrie, 
for that slie had beggered him, when he might have been a rich 
lawer, physitian, or marchant" (p. 37). In Discoveries Jonson 
wrote: " Poetry, in this latter age, hath proved but a mean mis- 
tress to such as have wholly addicted themselves to her, or given 
their names up to her family." Dekker referred to Jonson's poverty 
in SatiromastiXf 2^2, 332; 294, 373, etc. 



198 jpote0 

25,281. a happy muse. Q. souU. The figure used by Jon- 
son suggests the story of Pegasus, from whose hoofprint sprang 
the fountain Hippocrene. 

25? 2.84. heaven grates. Used as a compound noun. See 
N. E. D. s. V. Heaven-gate. 

25,286. desp'rate censures. Q. dudgeon censures^ vjh\zh 
suits better the use of "stab," as a "dudgeon" was a kind of 
dagger. Cf. Satiromastix, 286, 167. 

25, 291-295. The time ■was once, etc. As Gifford 
noted, from Ovid, Amor. 3, 8, 2-4. 

Ingenium quondam fuerat pretiosius auro ; 
At nunc barbaria est grandis, habere nihil. 

26, I. LaTVyer. " Ovid is still in the cap and gown which he 
had assumed upon the entrance of his father." Gifford. 

26, 3. What's here ? Q. inserts Numa in decimo nono, which 
folio 1616 and folio 1640 omit. Whalley and Gifford retain the 
quarto reading. " Numa Pompilius was the author of the Roman 
ceremonial law. . . . The sacred books of Numa, in which he 
prescribed all the religious rites and ceremonies, were said to have 
been buried near him in a separate tomb and to have been dis- 
covered by accident, five hundred years afterwards, by one Teren- 
tius in the consulship of Cornelius and Baehius, B.C. 181." 
(Smith's Diet. Gr. and Rom. Biog. and Myth., 1870, 8. v. 
Numa Pompilius.) " The story of the discovery of these books is 
evidently a forgery ; and the books, which were ascribed to Numa, 
and which were extant at a later time, were evidently nothing 
more than ancient works contaming an account of the ceremonial 
of the Roman religion " Jonson "had discovered, I imagine, the 
impropriety of attributing regulations of a warlike nature to Numa, 
and therefore omitted the title upon a revision of the play." Gifford. 

26, 7. Law-cases in verse ? Gifford quotes as *' a poor 
specimen of it " : 

Sponte tamen numeros carmen 'veniebat ad aptoi, 
Et quod conabar scribere^ -versus erat. 
Cf. Siuint. 9. 4. 147, Ut numeri sponte Jluxisse videantur. As 
Gifford remarks, Lord Hardwicke was not the first who thought 
of putting the Common Law into verse. 



il^otefif 199 

26, II, 27, i3» 14- in case ... in too much case 
. . . new dresse the law. Pun on "case" in law, and 
'*case," a covering or clothing 5 here his gown. 

27, 19. A Supersedeas. "A writ relieving a party from 
the operation of another writ which has been, or may be, issued 
against him." Burrill. 

27, 20. Julia. Sec "The Persons of the Play." George 
Sandys in his Life of O-vid, prefixed to his translation of the Meta- 
morp/iosesj 1640, gives the story of Ovid and Julia as related in Poet- 
aster and as generally accepted at that time. Julia, the daughter of 
Augustus, is represented in the play as the person with whom Ovid 
had his dealings. The opinion to-day is that her daughter Julia is the 
person on whose account Ovid was banished. Both Julias were 
women of disreputable character. 

27, aa. harmonious spheares. The Harmony or Music 
of the Spheres was, according to the fancy of Pythagoras and his 
school, a music, imperceptible to human ears, produced by the 
movement of the heavenly bodies. . , . The seven planets pro- 
duced severally the seven notes of the gamut." C. D. s. v. Har- 
mony. 

27, 27. at . . . hart. God's heart. 

27, 29. the faire Lycoris. Also called Cytheris, the mis- 
tress of Cornelius Gallus, and afterward of Marc Antony. Mentioned 
by Ovid ^. A. 3, 537 ; Triit. z, 445. 

28, 31-2. Plautia, Delia. "An edition of TibuUus by J. 
J. Scaliger was published in Paris in 1577 (containing also Catullus 
and Propertius). Complete editions of Apuleius were published by 
Beroaldus at Bologna in 1500, by P. Colvius at Leyden in 1558, 
and by Vulcanius at Leyden in 1 594. There was a second edition of 
the last in 1600. The Apologia was also published separately by Ca- 
saubon at Heidlberg in 1594. In the Apologia, 10, Apuleius makes a 
statement about the identity of Delia and Plania. On account of 
the rarity of the latter name Casaubon conjectured Flavia, and others 
have thought of Plautia, but Plania is generally accepted. Nemesis 
and Neaera are not identical with Plania, but the former was a later 
love of TibuUus's, while the latter was the sweetheart of one Lygda- 
mus, a member apparently of Messala's literary coterie, by whom a 
number of the elegies of book in v/ere written. Only books i and 



200 jliotrsf 

II are now accepted as the work of Tibullus, although some of the 
individual elegies of iii and iv are doubtless from his hand." 

I am indebted to my colleague Professor Rolfe for the foregoing 
information. The name Delia caused Mr. Fleay (Chiron, i, 367) to 
suggest that Tibullus was Samuel Daniel, who addressed his Sonnets 
to Delia. 

28,33. Corinna. A name given by Ovid to his mistress, whose 
identity was thus concealed. See j4m. 3, I, 49: 3, 12, 16: 2, 17, 
19: Trist. 4, 10, 60. Dr. Mallory's note in regard to a passage 
Amor. 2, 27, 27-30 is, " This passage makes against the view 
that Corinna represented Julia, daughter of the Emperor [see note 
27, 20] : had Corinna been known to be Julia, no other woman 
would have dared pretend to be Corinna. " It was perhaps because no 
one knew who Corinna really was (she might have been the daugh- 
ter of the Emperor) that another dared pretend to be Corinna. 

28, 37-44. Julia the gemme . . . zenith onely. 

Daniel's Sonnet xix to Delia contains lines and ideas similar to this 
description of Julia, as do also other poems of the period. 

28, 38. That takes . . . skie. Cf. " Bequeath the heavens 
the starres that I adore," Daniel, Delia^ xix, 1. 3. 

28,40. The ayre . . . sweets. Cf. " T' Arabian odors 
give thy breathing sweete," ibid. 1. 6. 

28, 43-44. he which . . . tune-full orbes. Cf. ♦* And 

thy sweet voice give back unto the spheres," ibid. 1. 10. 

28, 48. Hence Law. " We hear no more of Ovid's law ; 
yet he was somewhat farther advanced in it than Jonson seems to 
admit: he was apparently a very respectable advocate." Gifford, 
who quotes Ovid, Triit. 11, v, 93. 

Nee male commissa est nobis for tuna reorum, 
Lisque etc. . . . 

28,50. new made one. Q. neiv. Whalley'snoteis, ** The 
first folio has ' And new made one.' And so reads the quarto 1602. 
On their authority I have given the present text." His text gives 
neiVy but his note is on noiv, the reading of the folio 1640 and 
most copies of 1616. There are several varieties of the 1616 folio 
with differences in the names of the printer as given on the title-page 
and differences in readings, of which this is an instance. 



0om 201 

29,57. objects, abjects. Pronounced alike, or nearly alike- 
hence the pun. ^ ' 

29, 65. houres. *' A dissyUable." Nicholson. 
29, 71-72. strooke with the like planet. AfFected by 
the supposed influence of the planets. 

.31.15- strenuously well. Crispinus is Tonson's represent- 
ation of John Marston (see Introduction), whose vocabulary is es- 
pecially ridiculed in this play and elsewhere. '' Strenuous" is one 
of the words disgorged later by Crispinus-Marston, see 161 536 

31, 16. much good . . . sir. GifFord ; *« Enter' Chloe, 
with two maids." In a passage, in which the original acting of 
Jonson s plays is mentioned, the author of Historia Histrionica i6qo 
(reprinted in Dodsley's Old English Plays, 1744, Ed. W. C. Haz- 
htt, 1876, vol. XV, p. 404) speaks of the female parts as played by 
boys at Blackfriars, the theater at which Poetaster was presented by 
The Children of Queene Elizabeths Chappel." «< True 'Tis 
very true Hart and Clun were bred up boys at Blackfriars, and 
acted women's parts. Hart was Robinson's boy or apprentice • he 
acted the Duchess in the tragedy of the ' Cardinal,' which was the 
first part that gave him reputation. Cartwright and Wintershal be- 
longed to the Private House in Salisbury Court. Burt was a boy, 
first under Shank at the Blackfriars, then under Buston at the 
Cockpit^ and Mohun and Shatterel were in the same condition with 
him at the last place. There Burt used to play the principal women's 
parts in particular Clariana, in ' Love's Cruelty,' and at the same 
time Mohun acted Bellamente, which part he retained after the Re- 
storation." For a detailed account of the history of the Children of 
the Chapel at Blackfriars see the article with that title by Professor 
C. W. Wallace, of the University of Nebraska, Uni-versity Studies, 
vol. VIII, nos. 2 and 3 } also History of the London Staze iccn- 
1642, F. G. Fleay. ^ '^^^ 

_ 31, 18. Chloe. Albius and Chloe, the citizen and his wife, are 
similar to Deliro and Fallace in E-very Man out of his Humour, Cor- 
nutus and the cittie wife in E-very Woman in her Humour (circa 
1600). Horace writes of an Albius in Sat. i, 4, 28 and a Chloe in 
Larm I, 23, and 3, 9. These are not, however, the characters in 
the play, 

31. 18. bring . . . violets. The walls of houses were 



202 ipote0 

covered with hangings or tapestries (arras) and the floors strewn 
with rushes. The perfuming of roonns with tiowcrs or by burning 
sweet smelling herbs or incense was necessary, as in this case, to 
overcome "most pittifully ranke " odours. Flowers were strewn 
at weddings and funerals also. 

32, zi. that ever I felt: To feel a smell, "To perceive by 
smell or taste. Obi. exc. dial.'''' N.E.D. 

32, 25. obsequiously ; 28, predominant. Albius and 
Chloe use such words in order that they mav appear like courtiers. 
The situation is explained by Albius at line 50. 

32, 35. citizen's 'wife. Johnson defined a "citizen" as 
"a man of trade, not a gentleman." In Historia Histrjor.ica 1699 

iames Wright says of the "Fortune " and "Red Bull" play- 
louses " before the wars," " The two last were mostly frequented 
by citizens, and the meaner sort of people. " 

32, 40-44. she — her: addressed to Crispinus. 

32, 41-43. mooves as mightily . . . bumps on my 

head : "I suspect a pun, and that the doting Albius would embrace 
his wife, but that she pushes away his arm, and hits him on the 
head. Otherwise, the * bumps on the head ' are dragged in apropos 
of nothing. ' ' Nicholson. 

33» 4^- poking mee. Play on the meaning of the word. See 
Satiromasdx, 303, 86-88. 

33, 53. advise thee to entertaine. Explained by linei 
72-81, which give the reason for Chloe's rejection of advice. Al- 
bius was a " citizen," while she was "a gentlewoman borne." 

33, 60. hobby-horses. "In the morris dance, and on the 
stage (in burlesques, pantomimes, etc.), a figure of a horse, made 
of wickerwork, or other light material, furnished with a deep hous- 
ing, and fastened about the waist of one of the performers, who ex- 
ecuted various antics in imitation of the movements of a skittish or 
spirited horse ; also, the name of this performer in a morris-dance." 
A^. E. D. 

33> 65. Gaine savours s^veetly . . . " When Jonson 
thus gave us the meaning of the Latin saying, Dulcis odor lucri ex re 
qualihet, he forgot that the occasion from which it took its rise, was 
much posterior to the age in which the persons of his drama lived. 
The' possibly Vespasian might not have been the author of it, but 



ilioteflf 203 

only made it more memorable by the application to which he put 
it," Whalley. GifFord, who gives the Latin as Lucri bonus est odor 
ex re qualibet^ remarks : "Whalley alludes to the well-known anec- 
dote of Vespasian : the words of the text, however, are a proverbial 
sentence as old in the world as the love of gain." 

33, 66. respects to get. The Romans used respicere with 
the meaning "to care for," "to be mindful of " ,• and acquirer e, to 
get, with the meaning *' to amass wealth." Many words and ex- 
pressions of Latin origin were used by the Elizabethans in a sense more 
nearly Latin than is the case to-day. 

33» 73- take in snuffe. To be angry. 

34, 77. musique . . . masques. The meaning is that AI- 
biusasa citizen, with his first v/ife, never had at his house entertain- 
ment, musique and masques, such as were given in the houses of 
the nobility. His second wife, Chloe, "a gentlewoman born," had 
however made such things possible. 

34, 79. disbast myself: debased myself, a gentlewoman, 
by marrying a citizen. (See above, 32, 35.) The allusion to clothes 
indicates, as Dr. Mallory notes, a pun on the old word *'base," 
meaning a short skirt. 

34, 79-81. hood, fartingall, bumrowles, whale- 
bone-bodies. Cf. Dekker's Shoemaker'' s Holiday (Pearson re- 
print, i, p. 62). Simon Eyre (v/hohas become Sheriff of London) 
to his wife. *' Lady Madgy, thou hadst never covered thy Saracens 
head with this French flappe, nor loaded thy bumme with this 
farthingale," etc., unless Eyre had been raised to the rank of sheriff. 
Cf. (ibid. p. 39) ff^i/e. "Art thou acquainted with never a Far- 
dingale maker, nor a French-hood maker, I must enlarge my 
bumme," etc. The hood, and farthingale (similar to crinoline or 
hoop-skirts of great size) were worn by "ladies"; but cf. London 
Prodigal, III, I, 243 ( 1605) : " I'll have thee go like a citizen, 
in a guarded gown and a French hood." 

34, 83-4. spermacete . . . citie. Albius makes a bad 

pun, " citie of ," which is clearer in the quarto, which prints 

" sperma Cete." " Spermacete ** was used as a term of endearment 
because the substance was very valuable. 

34, 84, most best. "The inflections -er and -«/, which 
represent the comparative and superlative degrees of adjectives, 



204 il^otrflf 

though retained [in Elizabethan English], yet lost some of their force, 
and sometimes received the addition of more^ moit, for the purpose 
of greater emphasis. Ben Jonson speaks of this as ' a certain kind of 
English atticism, imitating the manner of the most ancientest and 
Jinest Grcchns/ . . . But there is no ground for thinking that this 
idiom was the result of imitating Greek." (Abbott, ^Shakespearian 
Grammar^ I 870, p. 22, section II.) 

34, 87. participate the knowledge. The verb used now 
with "in" was used transitively in Jonson's time. 

35, 116. A Face. Critics have diti'cred as to the meaning 
of this passage as describing the arms of JVIarston-Crispinus. See 
Shakespeare Manual, F. G. Fleay, p. 312 ; Notes and !^_eries, 4,vii, 
469, Brinsley Nicholson ; Alarston's Focms, Introduction, v. note, 
A. B. Grosart ; Poetaster, note on 2. I. 98, H. S. Mallory ; Her- 
alds and Heraldry in Ben Jonson s Plays, 99-104, A. H. Nason. 
The latest opinion on the subject is expressed in The Athenaum 
(Aug. 15, 1908, p. 190), in a review of Mr. Nason's book: 
♦' The NIarston arms were sable, a fcsse dancettee ermine between 
three fleurs-de-lis argent. Mr. Nason can see no resemblance be- 
tween this coat and Jonson's caricature 5 but surely the matter ad- 
mits of no doubt. A toe, especially with the foot attached, is no bad 
parody of a fesse dancettee, while the resemblance between three 
fleurs-de-lis argent and ' three thorns pungent ' is strong enough to 
appeal to any one. The crying face in chief seems to have puzzled 
not only Mr. Nason, but all the other commentators, none of whom 
appears to have noticed the explanation, which any one who looks 
up the visitations of Shropshire can see for himself. Marston was 
the grandson of Ralph Marston of Heyton. Now Marston of Hey- 
ton, as cadet branch of Marston of Marston, bore the Marston arms 
ivith a crescent for difference. This difference clearly gave Jonson 
the suggestion of the crying face, with which he burlesques the 
crescent." 

36, 128. God's my passion. Many such expressions are 
elliptical, but we cannot always be sure what the omitted words, if 
any, are. See II, 39. Cf. Passion-a-me, The Heir, Act. 1, Thomas 
May, 1620J God's passion, etc. 

36, 144. citi-sin. Cf. the same pun in Dekker's Lanthome 
and Candle Light [i6o^, Temple Classics, p. 191, "The citizen 
is sued here and condemmed for the city-sins." 



iliotf0 205 

36, 152. "Wife. ** She makes some sudden sign of anger." 
Nicholson. 

38, 180. coaches, Cf. Stowe's Annaks, 16 15, fol. 867. 
"In the yeare 1564 Guylliam Boonen, a Dutchman, became the 
queene's coachmanne, and was the first that brought the use of 
coaches into England. And after a while, divers great ladies, with 
great jealousie of the queene's displeasure, made them coaches, and 
rid in them up and downe the countries to the great admiration of 
all beholders ; but then by little and little, they grew usual among 
the nobility and others of sort, and within twenty years began a 
great trade of coachmaking." 

41, 50. And thanke Cornelius Gallus. Cytheris, the 
mistress of Gallus, lived at the house of Albius (see 27, 30) and, 
through her, Gallus arranged that the poets should meet their mis- 
tresses at that house. Albius and Chloe are simply used by the 
courtiers, who in reality care nothing for them. 

41, 65. Worthy Roman ! " Ovid and his friends seem to 
have taken Propertius at his word, and given him credit for more 
affliction than he really suffered. Cynthia's own opinion of the matter 
is not quite so favourable to the feelings of her quondam lover." 
Gifford: who quotes from. Eleg. 4, 7, in support of his opinion. 

42, 96. your lookes change . . . your hair change. 
The attack on Marston as Crispinus was referred to by Dekker in 
The Gu/s Hornbook (see Introduction to this volume, p. xiii, and 
35, iio-ii, above). The name Crispinus (above, 35, 116, note) 
was connected by Jonson with the arms of Marston. ** Rufus " in 
the light of Dekker's statement refers evidently to the color of his 
hair (red), and Laberius (qy. fr. labeo blob-lipped?) may refer to his 
general appearance or "looks " here mentioned. Dekker speaks of 
** your red-beard." While Jonson does not say specifically that the 
hair of Crispinus was red, yet there seems no doubt that such was the 
case. The beard oi Crispinus is mentioned, 51, 31, in a connec- 
tion which would have no special significance unless it had been red, 
as Dr. Nicholson said, *' Being rufus or red, it was the reverse of 
a stoic's temperament." 

43, 106. commended to have. "Recommend" {N. E. 
D. 2) as "collect" is used for "recollect." (See 1. 109.) 

43» *o7- At your ladiships service. Albius remarks. 



2o6 ji^otes; 

•* I got that speech by seeing a play last day." This is an instance 
(though Albius is not here an "ignorant poetaster") of what Jon- 
son meant in general by the passage in Cyn. Rev. 2, 4, ** . . . igno- 
rant poetasters of the time, who, when they have got acquainted 
with a strange word, never rest till they have wrung it in, though it 
loosen the whole fabric of their sense." Jonson ridiculed courtiers 
and their imitators, as here, for the same thing. 

43, 109. did me . . . grace. Was creditable to me. 

43» ^'°- good to collect. This may mean "'tis good to 
make a collection of phrases," etc. or " 'tis good to collect, i.c 
recollect, phrases heard.' 

43, 120. hard favour'd. Referring here probably to his being 
melancholy and therefore perhaps wearing a scowling face. If Hcr- 
mogcnes was a representation of any actual person this may be a 
reference to his customary appearance. 

43, 124. he can sing. Jonson liked to ridicule the singing 
courtier poets. Cf. Horace, Sat. i, 3, 1-8. 

Omnibus hoc vitium est cantoribus, inter amicos 
Ut nunquam inducant animum cantare rogati; 
Injussi nunquam desistant. Sardus habebat 
lUc Tigellius hoc, etc. 

Jonson has borrowed Hermogenes [Tigellius] character and all, as 
GifFord says, from Horace. Hermogenes is at first unwilling to sing, 
and then (47, 222) wishes to continue when others wish to attend 
the banquet. Julia translates the lines of Horace (47» 231), " 'Tis 
the common disease, etc." 

44, 131. his owne humanitie : i.e. courtesy. The word 
•' humanity" was used in stveral senses, and may have other im- 
plications here. Cf. Humane, the humanities, humanitian {Cyn- 
thia s Rei'els, 3, 5). 

45, 181. you ^vere best :*'... the old ' (to) me (it) were 
better,' being misunderstood, was sometimes replaced by *I were 
better.' ^ I -were better to be eaten to death' 2 Hen. IV. 1, 2, 
245. * / IV ere best to leave him,' / Hen. VI. v, 3, 82. ... 
And when the old idiom is retained, it is generally in instances like 
the following: 'Answer X.x\A\.^ you ivere best.,^ J. C. in, 3, 15, 
where you may represent either nominative or dative, but was al- 



ipotrs; 207 

most certainly used by Shakespeare as nominative." E. A. Abbott, 
Shakespearian Grammar^ ^230. 

46, 193-202. If I freely . . . bard. The outline of this 
song, as Whalley states, is from Martial, Epigram i, 57. 

J^ualem, Flacce, velim quaeris, nolimve puellam.? 
Nolo nimis facilem, difficilemve nimis : 
lUud quod medium est, atque inter utrumque probamus. 
Nee volo quod cruciat, nee volo quod satiat. 

48, 243. good legges. To make a leg was to bow drawing 
the leg back. 

48,258. Expiate this complement. InLf^r i, i,3o6,we 
have the expression " complement of leave taking," that is, cere- 
mony or formality. Nicholson interprets "expiate" to mean "be 
satisfied with." Shakespeare uses '* expiate " in the sense of" bring 
to a close," which is probably the meaning here. 

49, 260. Enghle. The derivation of £w^/i/(f is not known. It 
is spelled in several ways, and is used as noun and as verb. Ingle 
and ningle mean familiar friend, male favorite, often in a bad 
sense. As a verb the word means to coax or to swindle. 

49, 260, broker. Pawn-broker. Then as now pawn-brokers 
were often in league with thieves and sold stolen goods. 

49, 261. garland. Many of the pictures of Elizabethan poets 
represent them as wearing garlands. Horace-Jonson is crowned with 
nettles in SatiromastiXy 392, 394. 

50, I. Hor. li. I. Sat. 9. Jonson has made this satire the basis 
of a scene into which he has introduced much that is not in Horace, 
including the name of Crispinus. The original Satire g contains only 
78 lines. 

50, I. Horace. This is the first appearance of Horace, the 
character in which Jonson depicted himself and in so doing gave 
ofl^;nse. 

50, I . I will begin an ode. Deliberation in selecting his sub- 
ject and in " composing " were characteristic of Jonson, one of whose 
most famous criticisms of Shakespeare was " I remember, the play- 
ers have often mentioned it as an honour to Shakespeare, that in 
his writing (whatsoever he penned) he never blotted out a line. My 
answer hath been, Would he had blotted a thousand, which they 
thought a malevolent speech." Timber. 



2o8 jpotfflf 

50, 4. Mecoenas loves him. Crispinus (Marston) at once 
refers to the " coinj'any " kept bv Jonson. This wai one of Jon- 
son's replies to his enemies as to the cause of their hatred of him. 

50, 8. Swell me a bowle. This ode and Jonson's slowness 
in composing are ridiculed by Dekker, who quotes, not exactly, the 
last line of the ode. See Satiromaitix^ 280, 19 and 293, 340. 
Mr. H. C. Hart shows that Drayton rather than Jonson may be 
the one attacked by Dekker i^Ben Jomon, vol. 11, p. xix.) 

50, 9. plump Lyaeus. Bacchus, Ai^aioj, the looser from 
care, is represented as fat and thick-lipped. Marston {^Antonio's Re- 
"venge^ 5, 4), Chapman (7l/jy Day) and the author of the old 
Timon all wrote songs similar to this, the relation of which we do 
not know. For a discussion of them see Fleay, Biog. Chron. I, 
57 ; Bullen, Maruon^ i, 183 ; Small, Stage iQ^uar rely 55-56 note. 

50, iz. flO'wing measure. The only line quoted by Dekker 
(^Saiiromastix), who ridicules •* flowing " by making Horace hesitate 
whether to use " swimming" instead ("swims" is the word in 
the song in Timon), and substitutes "numbers" for measure. 
Dekker, to make his rhvme, writes " spright and flame." 

50, 13-14. the Muses stand auspicious. Dekker in his 
parody (Satiromastix, 280, 1-281, 25) makes Asinius say, " The 
nine Muses be his midwives. " 

50.15. SWeete man. " Sweet " is a word used by courtiers, 
and ridiculed in Cynthia' s Re'vels, and elsewhere. 

50, 15. frolicke ? rich? gallant? FroUcke means given 
to pleasure, and gallant refers to apparel and manners. As Jonson 
dressed plainly and regarded himself as superior to courtiers, the 
question of Crispinus was intended to be offensive to Horace. 

50.16. my fortunes. As Dr. Mallory remarks, the fortunes of 
the father of the Roman Horace had been considerable, but were 
confiscated under Augustus for the part the poet took with Brutus. 
The poet, through friendship of Virgil and Mecoenas, prospered. 

51, 20. a scholer. Marston was a student at Brasenose Col- 
lege, Oxford, from Feb. 4, 1 59 1-2 to Feb. 6, 1593-4, when he was 
admitted B.A. D. N. B. Jonson is here translating Horace's Doc// 
Sumus. Sat. 1,9, 7. 

51, 25. new turn'd Poet . . . and a Satyrist too. 
Marston's earliest work was Pygmalion, Satires, Scourge of Villanie 



jiiotesf 209 

in 1598. Antonio and Mellida^ i and 11, 1599 late, or 1600. His 
share in Histriomastix is earlier than Antonio and Mellida, being 
referred to in E-very Man out of his Humour ^ 1599. Henslowe 
mentions " Mr. Maxton, the new poete (Mr. Mastone)," '* 28 
of September 1599," Henslowe' s Diary, ed. W. W. Greg, 1908, 
Part I, p. III. Mr. Greg says (Part 11, p. 297), " The interlinear 
gloss ' Mr. Mastone ' is probably a forgery inserted in order to con- 
nect the entry with John Marston." 

51, 27. thy veine. Jonson called his plays E'very Man out of 
his Humour, Cynthia'' s Re-vels, and Poetaster by the characteristic and 
unusual name *' Comical Satires." He speaks of himself as a sat- 
irist in a number of passages, and is introduced wearing a " Satyres 
coate " and ** horns" in SatiromastiXf the title of which refers to 
Jonson. 

51, 27. odes or your sermons. Horace had said, **I will 
begin an ode so," and was engaged in composing an ode, when in- 
terrupted. " Sermons " is here a transfer to English of the Sermones 
of Horace, a general term applied by Horace to his Satires, Sermo 
means a discourse, or conversation. 

51, 28. a gentleman. Marston is satirized for his allusions 
to his birth, but this Satire is also general, as many references to 
** gentleman" show. 

51, 29. Rufus. This name refers evidently to the color of 
the hair and beard of Crispinus-Marston (see note 42, 96) which 
was red, " the reverse of a stoic's temperament," as Nicholson 
noted, hence the remark of Horace *'To the proportion of your 
beard," Si, 31. 

51, 30, a prettie Stoick too. Jonson here refers to the 
Roman Crispinus, mentioned in Horace (Sat. i, i, 120). He 
was " according to the statement of the Scholiasts on that passage, 
a bad poet and philosopher, who was surnamed Aretalogus, and 
wrote verses on the Stoics. This is all that is known about him, 
and it is not improbable that the name may be a fictitious one, 
under which Horace intended to ridicule some philosophical 
Poetaster.'^ Diet. Greek and Roman Biog. and Myth. Smith. 1870. 

51,34. street. The Fia Sacra. Ibam forte f^ia Sacra. Hor. 
Sat. I, 9. 

51,34. I protest. This cant expression, used by courtiers gen- 



210 il>otr0 

crally and ridiculed by Jonson here and elsewhere, is the subject of 
a note by Dr. Mallory, in which he calls attention to the fact that 
"protest" is not used by Horace or the graver characters, but is 
used a number of times by Crispinus Demetrius and Histrio. Dr. 
Mallory says, " This point is not so trivial when we consider that in 
fVhat Tou fVil/y which seems to have been acted before Poetaster (cf. 
Small, Stage iQuarrely loi ff. j though Fleay, Chr. 2, 76, dates it 
1601, 'after Poetaster'), Marston makes Lampatho, who repre- 
sents Jonson, continually reiterate / protest : note particularly Act. 
2, Sc. I." This statement of Dr. Mallory, based on Dr. Small's 
identification of Lampatho with Jonson, is evidence against such 
identification. The fact that •* protest " is never used by Horace- 
Jonson but is used frequently by Crispinus-Marston would con- 
nect Lampatho with Crispinus, which is, I believe, the correct 
interpretation, since Lampatho is addressed directly as '* Don Kin- 
sayder," the name signed by Marston at the end of his prefatory 
note to The Scourge of l^illanie and used of him in The Return from 
Parnassus. (See The War of Theatres^ pp. 138-140.) 

51, 36. polite and terse. These words both mean polished^ 
smooth^ but are not commonly used except in a transferred sense. 
"Terse" (like "neate" and "fine," 1. 33 above) is used 
affectedly by Crispinus. It refers probably to the appearance of the 
houses, to which reference is immediately made, and means ele- 
gantly compact. 

51, 43. city-ladies. The wives of citizens (merchants and 
shopkeepers) used to sit in the shops or before them in fine ap- 
parel to attract customers. Young gallants frequented the streets 
where these shops were. The absurd headdresses worn by these 
city-ladies are described by Crispinus, who contrasts them with 
" court curies . . . spangles or tricks," evidently terms applied to 
the hair-dressing of court-ladies. The silver bodkin was peculiar to 
city-ladies ; hence the remark of Horace. 

52,58. I cannot tell. " I know not what to say of it. An- 
other example of that mode of speech, which the commentators have 
so unaccountably overlooked." Gifford. 

52, 60. gable-ends. ..." In the reign of Henry VII. 
a new head-dress makes its appearance, partaking more of the 
hood than the cap, and suggesting the idea of the spire having 



been taken down from the church, leaving the gable end of the 
roof with its barge boards untampered with." (Planche, Cyclo- 
pedia of Costume, 1876, vol. i, p. 275.) 

52, 61-62. coronets . . . arches . . . pyramids. Cf. 

*' But oh her silver framed coronet with lowe downe dangling 
spangles all beset." 1599, Microcyr.icon (Fairholt). "Wearing of 
pcrriwigs, and other hair coronets and top gallants." 1601, Dent, 
Pathiv. Heaven (1831), 38. Stephen Gosson wrote in 1595: 

These flaming heads with staring haire, 
These wyers turnde like homes of ram; 
These painted faces which they weare, 
Can any tell from whence they cam } 

These glittering cawles of golden plate, 
Wherewith their heads are richly dect, 
Make them to seeme an Angels mate 
In judgment of the simple sect. 
To Peacockes I compare them right, 
That glorieth in their feathers bright. 
These perriwigges, ruffes, armed with pinnes, 
These spangles, chaine and laces all. . , . 
Pleasant S^uippes for Upstart Neivf angled Gentleivomen. 

52, 64. care a mushrome. •' Mushroom " is frequently used 
as a term of contempt ; hence, ** to care a mushroom " is to care 
nothing. 

52,69. had else. Something else, ** never written them," 
"never met me," etc., etc. ** Had else " may m.ean " had some 
one else to recite them to." 

53» 7^' observe. Crispinus means " listen, attend." Horace 
understands the word as meaning " look," in order to change the 
subject. This reference to the clothes of Crispinus-Marston, and a 
similar passage, 80, 365, concerning Demetrius-Dekker, are men- 
tioned in Satiromastix, 295, 395, and 364, 282. 

53, 81. velvet bases. * In the quarto it is Aose ; from which 
it appears that Jonson, as was sometimes the case with the writers 
of his age, uses the word for breeches. Strictly speaking, however, 
bases were a kind of short petticoat, somewhat like the phillibegs of 



212 Jl^Otffif 

the Highlanders, and were probably suggested by the military dress 
of the Romans. " GiHTord. 

53, 88. your mercers booke. The indebtedness of courtiers 
and gallants to their tailors and to " mercers " or dealers in cloth, 
was a matter of common reference. This reference to Crispinus is an- 
swered by Dekker in Siitiromunix, 365, 296. 

53, 90. I am crost, and so's not that. There Is a play 
here on three meanings of cross : to hinder, to cancel a debt by cross- 
ing off the account, a coin stamped with a cross. 

54,113. how I sweat with suffering. See 82, 414. 

Horace wrote yw:/m sudor ad imos manaret talos. Sat. i, 9, 10. 

54,120. with halfe my teeth. Gitford says : " In this 
speech, Horace has taken a line, by anticipation, from Juvenal : 

Ut liceat paucis cum dentibus inde reverti. Sa*. 3, 301. 
Juvenal is speaking of an attack made with fists." 

55, 122. by commission. Authority, warrant or instrument 
conferring authority. Cf I49, 2.67, in commission, in the exercise 
of delegated autliority. 

55, 124. lewd SOloecismes. See Satiromastix, 348, 94, 
note. Dekker replies to this attack on the poetry of Crispinus- 
Marston. 

55, 125. BolanuS. Horace wrote te, Bolane^ cerebri ft- 
licem! Sat. I, 9, 11. 

55, 131. made a solemne asse. Horace wrote — 

Demitto auriculas, ut iniquae mentis asellus, 
Quum gravius dorso subiit onus. Sat. I, 9, 21-21. 
55» ^33- affected to be gone. Disposed to be gone. 
55» ^34- let's prove, to enjoy thee : "i.e. letusrry — 
let us put it to the trial." Gitford-Cunningham. 

55,137-138. that's sicke. The illness of the friend, the ex- 
istence ot plague and the introduction of the physician and apothe- 
cary, are Jonson's additions to Horace. 

56, 148. farre side of all Tyber . . . Caesars gar- 
dens. Horace said : Trans Tiberjm . . . prope Caesaris hortos. 
"Had Shakespeare forgotten this when, in Julius Caesar, he 
placed the gardens on this Side Tyber f or did he prefer the author- 
ity of North, to that of his old acquainunce." Gifford. "His old 



JliOtffll 213 

acquaintance" is of course Jonson. For interesting theories con- 
cerning Jonson's influence in "Julius Caesar see Fleay, Shakespeare 
Manual, 1878, p. 262-270. 

56, 154-155. I feare . . . Phoebus. "Alluding to the 

plague sent by Apollo among the Grecians, on account of the insult 
offered to his priest. — Horn. II. lib i, 10." Whalley (quoted by 
Gifford). Jonson here refers also to what was common in London, 
and is frequently mentioned in the literature of the time. Theatres 
were closed during the plague, and houses in which were victims 
were marked with a cross. Jonson tells (in Conversations, pp. 19, 20) 
of the death of his son from the plague in 1603. For plague regula- 
tions see Malonc Society Collections, Part 11, (1908) p. 202, Dra- 
matic Records Lansdoivne MSS. See aho Dekktr, yl Rod for Run- 
aivayes, 1625, ed. Grosart, 4, 281. 

56, 166-167. O, that . . . sir. Blank verse, though not so 
printed in folio 1 61 6. 

57, 171. three Furies. The sign of a tavern at which Minos 
the apothecary dwelt. Horace "guest at his name by his signe" 
(1. 182) and called him Rhadamanthus the brother of Minos. ///W, 
14, 322. Rhadamanthus was made judge in the lower world. 

57, 171-172. Janus Temple. The temple of Janus was 
near the Forum, to which Crispinius was going; see 1. 236. 

57, 175. laid to arrest me: i.e. plotted, or laid a plan, to 
arrest me. 

57> 179-180. speake him faire. Faire, adv. , means courte- 
ously, kindly. 

57, 185-186. taste mee. Try me. Taste and feel (32, 21, 
note) were used somewhat generally of the senses. " [Taste] is still 
noticeable in Devonshire and was perhaps brought thence (with 
others) by Raleigh and became a fashionable word." Nicholson. 

57, 188. Varius, Virgil, Tibullus. Horace {Sat. I, 9, 
22-3) mentions Varius and Viscus. Virgil and Varius are men- 
tioned together by Horace, Sat. i, 5, 40 5 i, 6, 55; I, 10, 44 and 
81 ; Epist. 2, I, 247 ; A. P. 55. Tibullus is mentioned by Hor- 
ace, Carm. I, 33, and Epis. I, 4. 

57, 191. could pen more verses. Horace has : 

nam quis me scribere plures 
Aut citius possit versus ? Sat. i, 9, 23-24. 



214 j^Ott^ 

58, 200. I have beene a reveller. See also 69, 72, "a 

gentleman and a reveller." 

58, 201. Cloth of silver SUte, Cloth woven wholly or in 
part of silver thread. 

58, 201. My long stocking. " In this age, the breeches, 
or more properly the drawers, with men of fashion, fell short of the 
knees, and the defect was supplied by long stockings^ the tops of 
which were fastened under the drawers. This is Whalley's note : he 
could scarcely be mistaken in what he represents as so common to 
be seen ; and yet, before I read it, I always supposed the allusion to 
be that kind of stocking which was drawn up very high, and then 
rolled back over the breeches, till it nearly touched the knee." 
Gifford. 

58, 203. If you may be trusted, sir: "i.e. By his 
tailor." Nicholson. 

58, 204-201;. Hermogenes himself envies me. /«- 

"videat tjuod ct Hermogenes, ego canto. Hor. Saf. I, 9,25. 

58, 205. your onely master of musique: quawvis tacjt 
Hermogenes, cantor tamtn atqut optimui est modulator. Hor. 8at. 1, 
3,129-30. 

58, 207 : Is your mother living, sir ? Jonson follows 
Horace in this question addressed to Crispinus {Est tibi mater f 
Cognati, quels te sal'vo est opus? Sat. I, 9, 26), but not in the reply 
of Crispinus, in which it is Marston that speaks. Marston's father 
died in 1599, and his will was proved Nov. 29, 1599. Marston's 
mother was evidently liring, and the reply of Crispinus-Marston 
was a sharp one. 

58, 208. Au. Qy. Ay = Yes.? 

58, 210. mother. Womanish qualities inherited from the 
mother : also hysteria. 

58, 211. your father is dead. Not in Horace. Marston's 
father was dead. 

58, 213. ■well COmpOS'd : omnes composui, Hor. Sat. i, 
9, 28. Cf. compositus prope cineres cognatosy Catull. 68, 98. 

58, 218. remember me ... of. The old reflexive use of 
this verb. 

58,219. cunning woman. A fortune-teller. *< Cunning" 
was used in early times for occult art, magic. N. E. D. 



jliotr0 215 

58, 219. Sabella. The Sabines or Sabellians were expert in 
magic, hence this and other references to them in Horace. 

58, 218-59, 132. I now . . . aged man. Jonson trans- 
lates and adds to Hor, Sat. I, 9, 29-34, 

namque instat fatum mihi triste Sabella 
Quod puero cecinit divina mota anus urna: 
Hunc neque dira venena nee hosticus auferet ensis, 
Nee laterum dolor aut tussis nee tarda podagra; 
Garrulus hunc quando consumet cunque: loquaces, 
Si sapiat, vitet, simul atque adoleverit aetas. 

59, 236. I am . . . here. Horace wrote. Sat. l, 9, 35, 
Ventum erat ad Festae. The temple of Vesta was at the south end 
of the Forum, near the P ureal Libonti where money matters were 
adjusted. 

59, 238. If I neglect. Hor. Sat. I, 9, 36-7 : 

et casu tunc respondere vadato 
Debebat; quod ni fecisset, perdere litem. 

60, 251-261. Troth . . . with thee. Hor, Sat, i, 9, 

Dubius sum quid faciam, inquit; 
Tene relinquam an rem. Me, sodes. Non faciam, ille, 
Et praecedere coepit. Ego, ut contendere durum est 
Cum victore, sequor. Maecenas quomodo tecum. 

60, 264-266. thou art . . . Romanes, Jonson's evident 

boasting of his friends is referred to and satirized by Dekker in Sa- 
tiromastix, 363, 262. See Fleay, Biog. Chron. i, 337 for a list of 
distinguished persons referred to by Jonson. 

61, 279. this brize. Gadfly, which is often mentioned as 
stinging cattle. Gifford quotes Dryden, Georgics, 3, 241, "a fierce 
loud-buzzing breeze: their stings draw blood." 

61, 280. your silkenesse. This word occurs apparently 
only in Jonson. The Century Dictionary says: '* Silkiness ; used 
humorously, simulating such titles as 'your highness,' to imply 
luxuriousness, etc." There is of course a contrast with Jonson's 
*' rug " or *' perpetuana " clothes. 

61, 284. envie and detraction. These are terms used in 



2i6 ji^otfs; 

the formal arraignment of Crispinus-Marston and Demetrius-Dek- 
ker (165, 632 and 635. ) Dekker did not forget these words, and 
in Sadromastix they occur in the reply to Horace-Jonson. See 
364, 269 and 276 ; 386, 236. 

61, 288. There's. " There " is demonstrative = •* in that 
place," 

62,314. And impudence. This term, applied by Jonson to 
his foes, occurs in several-significant passages. Anaides in Cynthia i 
Revels is referred to (11, 2) by Mercury as " Impudence, itself 
Anaides." This merely substitutes a Latin for a Greek name. An- 
aides is, 1 believe, Marston (see Introduction, p. Ix). Envy, detraction, 
impudence and ignorance are all charged against Crispinus-Marston 
and Demetrius-Dekker, who had charged Horace-Jonson " falsely 
of self-love, arrogancy, impudence, rayling, filching by translation, 
etc." (149, 252-254). 

62, 315-320. Phoebus — Python, Hercules — Hy- 
dra. Allusions not in the Satire of Horace. 

62, 319. thy thirteenth labour. The labors of Her- 
cules, twelve in number, were not more difficult than this task of 
getting rid of Crispinus. 

63, I. Aristius. " Aristius has not full justice done him. 
There is nothing in Horace more amusing than the manner in 
which this person, who must have been a very sprightly, hu- 
morous, and agreeable gentleman, plays on the visible impatience 
of his friend. Here, he takes his leave very tamely." Gifford. 

63, 4. land-remora. The Romans believed that this fish 
stopped ships by clinging to their bottoms. 

64, 22. it selfe. " Iti was not used originally in the author- 
ized Version of the Bible, and is said to have been rarely used in 
Shakespeare's time. It is however very common in Florio's Mon- 
taigne. Hii still represented the genitive of It as well as He. Its is 
found, in M. for M. I, 2, 4; in ^. T. I, 2 (three times, 151, 
152, 266); and elsewhere." Abbott, SA. Gram. ^ 228. 

64, 1-2. imbrodered hat . . . ash-colour'd feather. 

This is probably the passage referred to by Dekker in The Guls Horn- 
book (see Introduction to this volume, p. xiii). There are numer- 
ous references in Elizabethan plays to feathers in hats. Dr. Mal- 
lory quotes Gifford's note, which contains the words "... which 



il^otes; 217 

Decker (or whoever is'meant by Crispinus) probably wore : — " and 
says in regard to the identity of Crispinus and Marston, " Gifford 
might have been at rest upon this point." This is not fair to Gif- 
ford, who merely speaks of Dekker here out of deference to the 
opinion of critics, with which however he does not agree. He ex- 
pressly reserves his own opinion until later, in his note on 73, 
183, where he makes the most important statement ever made 
concerning Poetaster (except Jonson's to Drummond in the Con- 
versations, not published however until 1842; Gifford's was pub- 
lished in 1 81 6), where contrary to all previous opinions of critics, 
he identifies Crispinus with Marston, and Demetrius with Dekker: 
Gifford says: " Briefly, 'I do now,' like Stephano, ' let loose my 
opinion ' [meaning, that he had expressly refrained from doing so 
before] that the Crispinus of Jonson is Marston, to whom every 
word of this directly points. This will derange much confident crit- 
icism ; but I shall be found eventually in the right. Decker I take 
to be the Demetrius of the present play. ' ' 

65, 9. Thankes, Great Apollo. Hor. Sat. i, 9, 78. 

Sic me serva-vit Apollo. 

65, 25. forborne you long. Had patience with you. 

65, 26. conscious. This is one of the words disgorged by 
Crispinus in 161, 541-543 and used in the verses attributed to Cris- 
pinus in I5I» 312. In both those passages it is used as an adjective 
in a transferred sense, '' conscious damp," *' conscious time." 

65, 27. exhale me. Drag me out. 

65, 29. Sweet meat must have sowre sawce. An 

old proverb quoted in Ray's English Pro-verbs, 1 678, p. 207. 

66, S. D. Pyrgus. The singular is used in the folio 16 16, 
although there are two " Pyrgi," distinguished later as *' I " and 
** 2." Tucca had but one when he made hisexit, 24, 259. Gif- 
ford calls attention to this fact and conjectures that the name 
** Pyrgus," a tower, was given ironically because the boys were 
small. Nicholson says (Ben Jonson, i, 263) of the word Pyrgus, 
*' Etymologically, engines used in sieges ; hence applied to pages 
used by Tucca to carry out his designs." 

66, 8. a citizen of Rome: i.e. a tradesman, as used also 
of Albius the jeweler. Citizen is used in distinction from * * gentle- 
man," the term applied to Crispinus. See note 32, 35. 



2l8 ^Otta 

66, II. A pothecarie. ''Originally, one who kept a store 
or shop of non-perishable commodities, spices, drugs, comfits, pre- 
serves, etc. Spec. The earlier name for one who prepared and sold 
drugs for medicinal purposes." N. E. D. 

66, 12. a physician. As distinguished from an apothecary, 
as here, a physician was one who had made a special study of 
** physic " and had been graduated from some college of medicine. 

66, 13. lotium. Latin, lottum, urine. "Stale urine used by 
barbers as a ' lye ' for the hair . . . also a vulgar form of * lotion.' " 
N. E. D. 

67, 18. g^ood-man slave. "Goodman" was prefixed to 
designations of occupation. N. E. D. 

tj, 19. hooke. A word applied with certain qualifications to 
a person. N. E. D. Here, perhaps, rogue-catcher. Cf. " flesh- 
hooke fingered sergeants." Dekker, cd. Grosart, 3, 38. 

67, 30. lendingS. We should say "borrowings." Sec 23, 

68, 58. centum viri. ** A college or bench of judges chosen 
annually for civil suits, especially those relating to inheritances." 
Andrews, Latin Lexicon. 

68, 66. Fourescore sesterties. "A sesterce was worth 

about two-pence of our money ; so that the whole of Crispinus' debt 
did not much exceed two shillings." Gifford. 

69, 83. Collonell. Pyrgus has been taught to address Tucca 
in high-sounding terms. 

70, 106. truth, and earnest. Faith or pledge. 

70, 1 1 8-1 II. But . . . see. Addressed to Crispinus and 
Minos, the Lictors having moved away. 

70, 121. barbers, to stitching. Minor surgical operations 
were performed by barbers, who were styled barber-surgeons. Sur- 
geons and barbers were not separated in London until 1745. 

70, 122-124. I am . . . profitable. The Lictors have re- 
turned, and Tucca changes his tone. 

70, 125. errant rogues. "This is the a-xw^ ""ap' vttS- 
voiav [covert allusion] in which Jonson and his master, Aristo- 
phanes, so much delight." Gifford. 

71, 126. Poetaster. Tucca addresses Crispinus here as 
" Poetaster." See also 79, 335, and 147, 200. Gallus and Tibul- 



jl^ote^ 219 

lus are called " poetasters," 99, no. Jonson criticizes Marston's 
vocabulary in the closing scene of the play, and in Cynthia s 
Revels, II, 4, had referred to "ignorant poetasters" who used 
strange words. Dekker uses the term, Sattromastix, 312, 15. 
Asinius. I doe not thinke but to proceede Poetaster next Com- 
mencement. 

71, 127-128. (thou shalt . . . resolute). The parenthesis 
is not indicated in the quarto. Nicholson thinks that these words 
were addressed to Pyrgus. Dr. Mallory is probably correct in taking 
them to have been addressed to Crispinus, who helped Tucca to 
cozen Minos. 

71, 135. Bacchus, Comus, Priapus. Comus here does 
not mean " the play," as Dr. Mallory states, but a jovial carousal, 
or merry-m^aking, such as in Grecian times " usually ended in the 
party parading the streets crowned and with torches." Liddell and 
Scott, Greek Lexicon^ s. v. Kuifios. Bacchus and Priapus mean 
wine and licentiousness. 

71, 136. stalkes. This refers to the peculiar walk of an 
actor of which Hamlet speaks in his address to the players. Ham- 
let, 3, 2. 

71, 138. ferret. The quarto reads Leveret. Ferret is a better 
name for Pyrgus, who is useful to Tucca in finding out facts about 
people. 

71, 142. man of warre. Not only a ship of war but also 
Captain Tucca. 

71, 146. grow rich . . . purchase. "Purchase" was 
used of the booty of thieves. Halliwell, Diet. Arch. The verb was 
used in the general sense of " acquire." 

71, 147. two-penny teare-mouth. Two-pence was com- 
monly the price of admission to the upper gallery in the Elizabethan 
theatre. See Satiromastix, 394, 18-19. 

71, 147. fortune. This refers probably, though not necessa- 
rily, to the Fortune theatre, built by Henslowe and Alleyn in 1600 
in Golden Lane. See Hensloive'' s Diary, ed. Greg, Part II, pp. 56— 
65, for an account of this theatre, and below, 73, 196, note, for a 
discussion of the company of which Histrio was a member. The 
relations of the various companies to each other is an important 
factor in the stage war, — some think the most important. When 



220 jl^otesi 

Po^rji/tfr was performed, l6oi, the Fortune theatre was occupied 
by the Admiral's men, who had left the Rose (where they had, up 
to July, 1600, been playing with Pembroke's men since Oct. 11, 
1597) in Nov. or Dec. 1600, when the Fortune was ready for 
them, Hensloive^ s Diary ^ ed. Greg, Part 11, p. 54. Pembroke's 
company, although some of them joined the Admiral's men, ap- 
pears as a separate organization in Leicester in 1 598 and again in 
1600. Ibid.^ p. 105, 

72, 148, the good yeere. ** The good year was a euphem- 
ism for the morbus gallicus." Cunningham. '* Good year" was used 
**a3 a meaningless expletive, chiefly in the interrogative phrase, 
What a (or the) goody ear." N. E. D. There may have been some 
meaning not clear to us in Tucca's use of the expression, but he 
may have referred simply to the prosperity of Histrio's company, 
which ** all the sinners, i' the suburbs . . . applaud , . . daily," 
75, 228-229. 

72, 152. sight, Oedipus. Oedipus, on learning of his guilt 
from Tiresias, put out his own eyes. 

72, 153. hares eies. There is an old idea that hares, owing 
to timidity, never closed their eyes. Histrio walked with eyes open, 
but did not see Tucca. 

72, 156-157. turne fiddler . . . and march. The status 

of fiddlers is indicated in what follows. See 73, 195-199. The allu- 
sion is probably to facts known to the audience concerning Histrio's 
company. 

72, 157. tawnie COate. **Tawnie" means the color of 
tanned leather. Perhaps Jonson's allusion to Histrio's experiences 
is answered by Dekker in Satiromastix, 34O, 161, where Tucca says 
to Horace (Jonson), " thou has forgot how thou amblest (in leather 
pilch) by a play- wagon " etc. 

72, 158. Goose-faire. "Goose-fair, or, as it is usually 
called. Green-goose fair. . . . It is still held (as in the poet's days) 
on Whitsun Monday, at Bow, near Stratford in Essex j and takes 
its name from the young or green geese which form the principal 
part of the entertainment. In Jonson's time probably itinerant com- 
panies of players resorted there." GifFord. 

72, 163. Owleglas. Ulen-spiegel, or Owl-glass, a rogue, 
the subject of a well-known series of stories of adventures. The ear- 



0Ott^ 221 

nest German editions were printed in 151 5 and 1 519 at Strasburg. 
Ihere was an English translation by William Copland, issued in 
three undated editions between 1548 and 1560. 

72, 164. perstemptuous varlet. '< In this use of a cor- 
ruption of * presumptuous,' Jonson would, it is to be supposed, set 
forth the Ignorance and presumption of Tucca." Nichohon, Is it 
not rather a mixing of " contemptuous " with «' presumptuous " 
by Tucca who 13 a stutterer? 

72, 164. your fellowes: i.e. your equals. Tucca wishes it 
to be understood that he is a Captain, while Histrio is only the equal 
of a private soldier, 

72, 165. a hundred and fiftie. The number of men in a 
company at that time. 

72, 168. of a legion: *<i.e. of lice." Nkkohon, 
y2, 169. exhibited wrong. Tucca evidently thought that 
Histno was laughing at him (see line 150). To " exhibit" is to 
set forth to view (i.e. himself). 

72, 172.. make us a supper. It was the custom among 
gaJ ants and men-about-town to victimize one of their number and 
make him provide a supper. See above 15, ao. Shot-Clogge. 
, K^^.'/il" f*^"*alabus. In 85, 39, the folio has " Panto- 
labus. The quarto reads Caprichio. Gifford suggested that the read- 
ing here should be Pantolabus. Horace mentions <* the Tester Pan- 
tolabus ' {Sat. I, 8, II, and 11, i, 22) a name appropriate to 
Crispinus-Marston. The name iravroXd^os, the "take all," is 
here fitting for Crispinus, who aids Tucca to secure money, 82 
425- Gifford's note on 73, 183, has been referred to (see note on 
04, 1-2) as containing the most important statement ever made 
concerning Poetaster^ except Jonson 's to Drummond, which was not 
published until 1842. Gifford declared, contrary to all previous 
opinions of critics, that Crispinus was Marston and not Dekker. 
and that Demetrius was Dekker. 

73» 186-7. gent 'man . . . man of worship. Marston 
(Crispinus) was born a gentleman, his father having been a Coun- 
sellor of the Middle Temple. See 35, no and 116. The term 
^ parcell-poet" was thrown back at Jonson in Satiromauix. 
Farcell-poet " means half-poet; part-poet. See 349, 135. 
73, 188. pens high. The last scene of the play is devoted 



222 jl^otes: 

largely to an attack on the vocabulary of Crispinus (Marston), 
words and phrases used by Marston being ridiculed. 

73, 190. Minotaurus. One of Tucca's humorous classical 
allusions. Cf. Cynthia s Re-vehy i, 3. "I am neither your Mino- 
taur, nor your Centaur." 

73, 194. in earnest. There are a number of entries in Hem- 
loivc s Diary recording payments "in earnest" for plays. See 
Heniloiue i Diary ^ ed. Greg, Part 11, pp. 104-105, for information 
concerning the rivalry of companies and the selling of plays. 

73, 196-199. travel! . . . trumpet. Probably a reference 
to Histnomastix, 11, 11. 251-254, the song of the players : " Besides 
we that travel with pumps full of gravel," etc. Jonson may refer 
simply to players in general, or to the particular company, probably 
the Chamberlain's, by which Sattromastix was performed, to which, 
it seems likely, Histrio belonged. See 78, 320-346, note, and 80, 
368, note. Jonson's allusion raises the question. Was Histrio's com- 
pany the same as Sir Oliver Owlet' i men \n Hi striomastix f For 
discussion of this question see Simpson, The School of Shakspert^ II, 
pp. 1 1 and 89 } Prof. Henry Wood, Shakespeare Burlesqued, Am. 
Jour. Philol. XVI, 3 ; Flcay, Biog. Chron. Eng. Drama, 11, pp. 70- 
71, and Hist, of Stage, pp. 137, 138, 158; Greg, Hensloive's 
Diary, 11, p. 76 j Penniman, The War of the Theatres, pp. 33— 
43 ; Small, The Stage S^uarrel, p. 57. 

74, 203. Stiffe toe. Allusion to the gait of actors. 
74, 204. it skils not: i.e. It matters not. 

74, 205. shifter . . . statute. See 15, 42 note. The 
quarto reads " Twentie i' the hundred " for *' shifter," and refers 
to the legal rate of interest, which was ten pounds in the hundred. 
See 13 Eliz. c. 8, referred to by Dr. Mallory, who corrects Gif- 
ford's note. 

74, 222-223. humours, revells, and satyres. Allusion 

to the titles of Jonson's plays E'very Man out of his Humour and 
Cynthia's Revels, called by him " Comicall Satyres." The latter play 
and Poetaster were performed at Blackfriars, which was on the other 
side of the river from the Globe, at which the Chamberlain's com- 
pany were then playing. This is the meaning, probably, of His- 
trio's remark (74, 226), " They are on the other side of Tyber.** 

75, Z28. all the sinners. The popularity of the theatre is 



jl^ote0 223 

indicated, and also the fact that the audiences included many of the 
most dissolute characters. See Tkt Life of Shakespeare^ Halliwell- 
Phillips, I, 281-283, for an account of the attempts to regulate the 
performance at this time. 

75> ^3°- bring me o' the stage. Tucca appeared in Satiro- 
mastix, performed by the Chamberlain's company at the Globe, 
soon after Poetaster. 

75» 2.32. COpper-lac't. Copper lace is mentioned a num- 
ber of times in Hensloive's Diary and elsewhere in connection with 
the dress of actors. 

75, 234-235. mansions . . . Triumphs. ** Mansion" 

and '* tabernacle " are both used for the body in the Bible (2 Cor. 
5, I, and z Peter i, 13, 14) so that bodily punishment might be 
meant by Tucca. "Tabernacle" was used also for booths (c*^. 
Nas/ies Lenten Stuffe, ed. Grosart, 5, 213), and "mansion" for 
pretentious houses. "Globes" refers probably to the Globe thea- 
tre, at which Satiromastix was performed. There was no theatre or 
tavern called " Triumph " j so the word may mean pageant, or pub- 
lic display. Cf. " the one [side of a palace] for feasts and tri- 
umphs," etc. Bacon, Building. 

75, 238. two-penny ra,SCalI. " Known examples allow 
the following tentative conclusion for 1597 to 1608. Admission to 
the yard and upper gallery of the public theatres was one penny. 
There were also two-penny galleries, or two-penny rooms, in the 
Globe, Fortune, and others. So far as known, the best rooms there 
were a shilling. The price at Paul's was sixpence. There are no 
known records as to Whitefriars fees for the period. At Blackfriars 
the lowest price in 1602 was a shilling." T/ie Children of the 
Chapel at Blackfriars, p. 112, note. C. W. Wallace, 1908. 

75, 242-245. pronounce . . . dump. This reminds us of 
Hamlet's criticism of players who " mouth it," Hamlet, iii, 2. A 
" dump " was a doleful song as well as a fit of melancholy. 

75» 245-^48. O doleful! . . , wretchednesse. These 
lines have not been identified in any Darius play, but they are sim- 
ilar in tone, alliteration and alternate rhyme to many in The Tragedie 
of Darius, by William Alexander, printed at Edinburgh in 1603. 
We do not know whether this play was acted, or whether Jon- 
son had read it, but we do know that Jonson told Drummond, in 



224 Jl^oteflf 

1619, that " Sir W. Alexander was not halfe kindc unto him, and 
neglected him, because a friend to Drayton " (^Con'versations, p. I l). 
As the boy actors reciting for Histrio were probably in each case 
quoting, exactly, or in parody, lines from actual plays, it seems 
likely that these lines, if not a parody of Alexander's lines, arc 
from a play now lost or unknown to us. Gifford's note is wrong in 
stating that the lines are a burlesque on the Enterlude . . . Kyng 
Daryui, printed in 1565. Whallcy noted the similarity of this 
speech to that of Falstaffin I Henry /^, 11, 4, 423-425. 

75, 249-76, 257. O, shee ... at all. From the speech of 
Baltliazar, 11, l, 9-28, in The Spanish Tragedy^ by Thomas Kyd, 
1585-7. The lines are not quoted exactly, or in the same order. 
Hazlitt {DoJs/ey, 5, 36) and Mr. Bozs {Kyd, ed. Boas, p. 398) 
both mention the source of this speech as Sonnet 47 of Watson's 
Hecaiompathia, itself drawn (Boas) from Sonnet 103 of Serafino. 
" An amusing parody of the scene occurs in Nathaniel Field's A 
Woman is a Weathercock^ i, 2," Kyd^ Boas, p. 398. Field was 
one of the boy actors of Poetaster. See list of '• principall Comce- 
dians " appended to the play. The Spanish Tragedy is referred toby 
Jonson in a number of places j E'very Alan in his Humour, i, 5 ; 
Cynthia's Re-vels, Induction j Bartholomeiv Fair^ Induction ; all 
of which speak of Hierontmo, as the play was also called. See also 
The Alchemist, in, 2 ; Tale of a Tub, in, 4 ; The Neiv Inn, 11, 2, 
for other references or quotatons. Jonson received payments from 
Henslowe, 25 Sept. 1601, for **adicians in geronymo," and 24 
June, 1602, for *' new adicyons for Jeronymo." Hensloive' t Diary ^ 
ed. Greg, i, 149 and 168. These refer to The Spanish Tragedy. 

76,259-262. What? . . . pusillanimitie. This passage 
has not been identified. 

76, 263. Demetrius [and] Hist. Demetrius may have 
entered with Histrio, but he is not noticed by Tucca until 80, 363. 
Gifford omits " Demet. " as a mistake in the text of the folio. 

76,265-272. the Ghost . . . Veni. Gifford quotes lines 
from A Warning for Fair Women, 1 599, Induction, Locrine, 
1595, and Fletcher's Fair Maid of the Inn, containing similar 
phrases. In Antonio'' s Re-venge, 1 600, v, i, Marston, as Gifford 
notes, has lines which Jonson may have had in mind : Ant. Vin- 
dicta ! Alb. Mellida ! Ant. Vindicta ! Alb. Antonio ! 



j^otr0 225 

Mr. Boas discusses the sources of these '* Vindicta " passages (in 
Kydy p. 408) and calls attention to the Senecan origin ot them. 

76,273-274. rumbling plaier. 77, 283. drumme. Jon- 
son ridicules here T/ie Spanish Tragedy, n, 4, 62, when Bel- 
Imperia cries "Murder, murder," etc. 2d Pyrgus, who represents 
Hieronimo, carries a drum. A scene (i, 5) in The Spanish Tragedy 
has this stage direction, " Enter Hieronimo with a drum," etc. 
Cf. E-very Man in his Humour, Induction, " No rolled bullet . . . 
nor tempestuous drum rumbles." 

76, 275. 2d Pyr. Gifford corrected the folio, which reads 
/. Pyr. 

76, 276. small voice. Feminine or high-pitched voice, 

77, 283. brace your drumme. A common expres- 
sion for tighten, or make tense the drum-head; cf. Shakespeare, 
John V, 2, 169, " A drum is readie brac'd that shall reverberate," 
etc. 

77, 284. t'other fellow there. The other fellow in The 
Spanish Tragedy, 11, I, 67-75, '^ Lorenzo. Jonson does not quote 
these lines exactly. 

77,295-7. Why . • . foode. A.S Gifford noted, these lines 
parody The Ba tie of Alcazar, iv, 2. Nicholson says, " Pistol 
quotes these woi Js [^ Henry IV, v, 3, 112] but this speech seems to 
be from the play whence that * Ancient ' drew some of his phrases." 

77, 299. a little of a ladie. Histrio wishes to hire the boys 
(Pyrgi) with whose acting he is pleased. Female parts were played 
by boys. 

78, 303-4. Master . . . thee. The source of these lines 
has not been identified. 

78, 305-306. the Moore. "Muley a character in the old 
play" '[The Battle of Alca%ar\ Gifford. 

78, 306. scarfe. Tucca, as a captain, wore a scarf, which 
was customary for officers. 

78,315. marigonizing. 79,343- Mango. Latin, fw^w^o, 
a slave dealer ; Greek /ndyYavov, a means for charming or bewilder- 
ing others. '* Cooper, in his Thesaurus Linguae Romanae et Britta- 
nicae, 1 5 87, has : ' Mango a baude thatpaynteth and pampercth up 
boyes, women, or servauntes to make them seeme the trimmer, 
thereby to sell them the deerer.' " Cunningham. 



226 jPOCffi? 

78, 320-79, 346. eating; plaier . . . drunke, and drie. 

Gifford remarks, "The remainder of this act is merely personal; 
indeed the author makes no scruple of avowing it : ' Now for the 
players, it is true I tax'd 'hem, and yet but some,' " etc. They 
*' are so chai-acteristically described as to make the discovery of their 
real names a task of no great difficulty to their contemporaries." 
The opinion of Thomas Davies, Dram. Alisc. vol. ii, p. 82, that the 
players were members of the Chamberlain's company is rejected by 
Gifford, but is probably correct. See Small, T/ie Sta^e-i^arrel^ 
p. 57 ; Penniman, The War of the Theatres, p. 1 16 ; Wood, Am. 
your. Philol. XVI, 3. Davies guessed that Poluphagus (the glutton) 
was Burbage; Frisker, Kempe; the "fat foole," Mango, Lowin, 
the original Falstatf. For this identification of Kempe there is some 
reason, as Kempe was a famous dancer. Tucca calls Frisker, 
" my zany." A zany was a buffoon or clown who imitated others. 
Tucca was represented in Satiromastix by an actor, who, in speak- 
ing the Epilogue, offered to "dance Friskin." As Kempe was a 
member of the Chamberlain's company, which presented Satiro- 
mastix^ it seems likely that he was the man. 

78, 325. ./Enobarbus. Red-beard, literally bronze-beard. 
Evidently a personal allusion appreciated by the audi -nee. 

79, 329. accommodate it unto the gentleman. 

That is, get Crispinus to accept "five and twentie " instead of 
" fortie shillings " (73, 193) for the play he was to write. " Ac- 
commodate " was evidently an affected word. 

79» 331-332. businesse . . . Lupus. The "businesse" 
was probably concerning the banquet, iv, 5. 

79, 337. JEsope, your politician. Cicero mentions a 
Roman actor yEsop (Fam. 7, i), and Horace calls him "gravis 
vEsopus" (£/). 2, I, 82), an expression, " grave ^sope," applied 
by Jonson {Epigram, 89) to Edward Alleyn. yEsop appears (144, 
123) as the "player" who informed Lupus of the "emblem" 
made by Horace. The Histrio who had "businesse" with Lupus 
(79, 332) and the Histrio who appears with Lupus (l02, 4) are 
not necessarily the same person, though they probably are. Neither 
of them is the same as yEsop. The " emblem " of Horace, and the 
affairs of Ovid and Julia, are quite distinct. Lupus, the tribune, was 
the person to whom informers went to lay charges. 



j^Ott& 227 

The connection between the stage and politics was evidently close. 
See Simpson, The Pohtical Use of the Stage in Hhaksfere'' s Time, 
New Sh. Soc. Trans, i, l, 371-441 ; and Fleay, Biog. Chron. i, 
368, for a discussion or the subject. 

79, 342-344. fat foole . . . Mango . . . rapiers. Evi- 
dently personal allusions familiar to the audience. See 78, 315, 
note on " mangonizing. " Transactions dealing with rapiers occur in 
several plays, such as Every Man in his Humour, 11, 4, where 
Brainworm sells his rapier. 

79, 352. pu*nees. Another form of "puisne" meaning an 
inferior or subordinate judge, or a novice at the Inns of Court. 
Cf. 165, 628, "puisne's chambers." 

80, 355. helpe to a peece of flesh. See note on "man- 
gonizing," 78, 315, 

80, 363. what 's he. Demetrius probably entered with or 
immediately after Histrio, to whom he is known. The folio reads 
(at 1. 263) *< Demet. Hist." GifFord omits " Demet." here (and 
in 1. 281) as a mistake and makes him enter "at a distance," 1, 

364- 

80, 363. halfe-armes. Demetrius had probably only a dag- 
ger or short sword instead of a sword and dagger. 

80, 364. cloke, like a motion. Cf. Jonson, Epigram 97, 

" See you yond motion . . . His cloak with orient velvet quite 
lined through." Motions were puppet shows. 

80, 365. his dubblet's a little decaied. This is the be- 
ginning of the attack on Dekker to which reply was made in S>ati- 
romastix, 295, 392-397, and 364, 281. That Dekker was poor is 
indicated by entries in Hensloive' s Diary (ed. Greg, i, 83 and lOl) 
in January and February, 1598, recording payments made to release 
Dekker from arrest. 

80,367. dresser of plaies. Dekker wrote much in collab- 
oration with other playwrights. He is called also "journey-man," 
119, 32, and 147, 201. A "journeyman" was employed by the 
company, but was not a "sharer" in the profits. See 24, 258, 
note. 

80, 368. hir'd him to abuse Horace. Satiromastix was 
presented by the Chamberlain's company, to which Histrio prob- 
ably belonged. That play has among its characters Horace, Tucca, 



2 28 ipotefif 

Crispinus and Demetrius from Poetaster^ and ridicules the com- 
pany kept by Horace (Jonson). Jonson evidently knew that Dek- 
ker had been hired to attack him and that characters from Poetas- 
ter would be presented by Histrio's company. 

80, 373. will get us . . . money. This, and the state- 
ment (174, 135-136) of Horace : "If it gave 'hem meat, or got 
'hem clothes. 'Tis well. That was their end," indicates that the 
" War of the Theatres " was financially profitable to the compa- 
nies concerned. Perhaps some of the personal satire was intended to 
attract audiences. 

80, 374-376. this winter . . . gentleman. This com- 
plaint of Histrio doubtless refers to the popularity of the children's 
companies. Cynthia s Re-vels, full of praise of the Queen, was 
performed by the Children of Queen Elizabeth's Chapel, who 
presented Poetaster also at Blackfriars. " There are good grounds 
for concluding that Elizabeth intended the establishment of the 
Children of her Chapel as actors at Blackfriars not merely to 
give the Boys polish of manners, but also to pleasure herself and 
entertain the Court. Her own presence there in company with 
her court-ladies, the testimony from other sources that lords 
attended, and that my fine gentleman took up the fashion while 
the better paying part of the audiences at the public theatres cor- 
respondingly dwindled, all indicate that this was at any rate the re- 
sult, if not the original intention. I have already pointed out that this 
probably accounts for the children's not being oftener at Court from 
1597 to 1603." The Children of the Chapel at Blackfriars^ by 
C. W. Wallace, University Studies of the University of Nebraska, 
VIII, 2 and 3, p. 112. Shakespeare refers to these children's com- 
panies (or perhaps this company) in Hamlet^ 11, 2. " But there is, 
sir, an aiery of children, little eyasses, that cry out on the top of 
question, and are most tyrannically clapp'd for't : these are now the 
fashion ; and so berattle the common stages, (so they call them,) 
that many, wearing rapiers, are afraid of goose-quills, and dare scarce 
come hither." *' 'Faith, there has been much to do on both sides; 
and the nation holds it no sin, to tarre them on to controversy: 
there was, for a while, no money bid for argument, unless the poet 
and the player went to cuffs in the question." 

81, 383. my Parnassus . . . shall helpe. Tucca's 



jl^otefl; 229 

offer to have Crispinus (Marston) help Demetrius (Dekker) is re- 
fused, a fact on which emphasis laid (II9, 34-5) " I 'le write 
nothing in it but innocence." Marston wrote none of Satiromastixy 
and Dekker was simply ** hir'd " to write it. 

81, 396-4020 Where art . . . my fall. From TAe Bat- 
tle of Alca-zar 11, 3, i-li, omitting lines a, 3, 4 and 11 and 
changing " fortellers " to "forerunners." There are a number of 
allusions in other plays to The Battle of Alca-zar. Cf Satiromastix^ 
341, 191, " Feede and be fat my faire Calipolis" ; Marston, 
fVhat Tou Will, v, I, I ; Shakespeare, 2 Hen. IV ^ 11, 4, 193 j 
Thos. Heywood, Royal King and Loyal Subject, il, 2. 

82, 404-405. seven-shares and a halfe. Probably the 
manager of the company. See 24, 258, note. 

82, 406. a service. Actors not under the patronage of a no- 
bleman were liable to be treated as vagabonds. See 15, 42 note. 

82, 407. buy your O^wne cloth. Henslowe records pay- 
ments made to tailors for cloth. There was an understanding with 
servants in regard to their allowances. Malone says, of His Ma- 
jesty's Servants ; *' Like other servants of the household, . . . each 
of them was allowed four yards of bastard scarlet for a cloak, and a 
quarter of a yard of velvet for the cape, every second year." Eng. 
Stage, p. 48. 

82, 421. goate . . . ram. Cf. Horace, olet Air cum. Sat. I, 
2, 27 ; and Catullus, Valle sub alarum . . . caper. 69, 6. 

82,424. twentie drachmes. *' Twentie sesterces" was 
the sum mentioned before (74, 213). A drachme was worth about 
twenty cents, and a sesterce about five cents. 

82, 429. gallant. Used here of a woman, 

83, 431. my Genius. My tutelar deity, which Crispinus be- 
comes for the moment to Tucca, see also 85* 5 6; and cf Horace, 
Scit Genius, natale comes qui temperat astrum, etc. Ep. 2, 2, 187. 

83, 435-437- See . . . seconded. These lines, not in the 
quarto, introduce the next scene, a translation of Horace, Sat. 2, 
I, not in the quarto. Gifford places the scene after the play in his 
edition and says that it "bears no appearance of having been spoken 
on the stage." The translation is free in many places. 

84,28. Lucilius, honor'd Scipio. "Honor'd" isaverb. 
The slight pause after " Lucilius," indicated in the folio by a comma, 
would not be so indicated to-day. 



230 jpote0 

85, 41-42. In . . . Straines. Jonson quotes in the dedica- 
tion of Volpone the line of Horace, Sat. 2, i, 23, of which this is 
a free translation. 

85, 50. both our better. "The adjectives a//, each^ both^ 
e'ver'i', other aje sometimes interchanged and used as pronouns in a 
manner different from modern usage." Abbott, Shakespearian Gram- 
mar, (^1% "J 6) ^^ 12. HoTzcc wrote nostrum melioris utroyue. Sat. 2, 
I, 29. 

85, 57. Lucanian, or Apulian. Venusia, the birthplace of 
Horace, was on the borders of Lucania and Apulia. 

85, 57- I not whether. "Not" is Chaucer's "not" = ne 
wot, know not Cf. Gascoigne (1576), Philomene (Arber's reprint, 
p. 90), "As yet I not, what proper hew it bare." 

86,61. rode. Gifford reads " road." Cunningham thinks Jon- 
son had in mind the word " raid," from his use in 1. 63 of" border- 
er" as a translation oi ylppula gens. The meaning is, " inroad" or 
** invasion." 

86, 65. stile. The latin Stilus, a pointed stake, or a point 
for writing on wax tablets, is transferred to manner of writing. The 
word is played upon here. Dekker also plays upon the word " style," 
mannerof writing and " stile " (A. S. Stigel, steps) in &/r/romfljr/>, 
292, 318. 

86, 68. contend. Latin, coner, attempt, undertake. 

86, 78. Throughout the citie . . . song. Horace, 

Sat. 2, I, 46, tot a cantabitur urbe. 

87, 94. temper'd poison. Sed mala . . . "vitiato melle 
cicuta, Horace, Sat. 2, i, 56 ; honey poisoned with deadly hemlock. 

87, 104. pull the skin. Latin, detrahere pellem, a proverbial 
phrase, i.e. to pull away the covering or mask. 

88, II 3-1 14. when from sight . . . Scipio. Dr. Mallory 
suggests that "sight," which is the reading of all copies of the 
folio examined, is a misprint for "hght" an appropriate word, as 
referring to the career of Scipio. 

88, 121-2. Seeking. . .unsound. An allusion to biting 
a nut and finding it hard, or to the story of the viper and the file. 
Persius, i, 114. 

88, 124-89, 140. No, Horace . . . sit free. This pas- 
sage is particularly applicable to the legal difficulties in which Jon- 



il^otesf 231 

son became involved as a result of Poetaster and to which he al- 
ludes in the dedication of the play, and in the ** Apologeticall Dia- 
logue." Jonson juctifies himself by quoting the Roman Horace as 
authority for the actions and words of Horace in Poetaster. 

89* 134. That spare . . . crimes. Cf. Apol. Dialogue, 

171, 72, "To spare the persons, and to speake the vices." 

89, 136. makers grace. Latin, laudatus, i.e. with praise 
or favor to the maker of the verses. 

90, 13. court-frumps. Ridicule of courtiers, snubs. 

90, 19. puffe wings. * 'A lateral prominency, extending from 
each shoulder, which, as appears from the portraits of the age, was 
a fashionable part of the dress." Whalley. 

91, 22. pure. Cleanly, with a play on the word " Puritan," 
as Gifford suggests. The district known as Blackfriars was cele- 
brated for the theatre, the Puritans and the feather trade. 

91, 24-25. fanne . . . masque. See Satiromas'tix, 301 

20, note. * 

91, 15-7. poets . . . kisses. The making of verses by 
Courtiers is ridiculed in Cynthia s Re-ve/s, as is also the kissing men- 
tioned by Cytheris. 

91, 38-9. under-thought. Consciousness, or thought of 

being inferior. 

91, 40. forsooth. A word used by citizens, but not by cour- 
tiers, as a term of politeness. In 34, 98-101, it is used by a servant, 
and by Crispinus who for the moment adopts the language of the 
citizen. In ff^Aat You Will, I, i, we have the reverse of this, the 
court mingling with the city. "The troupe of I beseech and protest, 
and belee-ve it, Siveete, is mixed with two or three hopefull, well- 
stockt, neat-clothed citizens." 

92,49-50. lyeninmyhouse. The 1692 folio reads "lain," 
which is adopted by Gifford and Nicholson. ' ' Lies " for " lives ' ' u 
common. Cf. 27, 29, "faire Lycoris lies." 

92, 2. bright Starres. Referring to the "heavenly" ban- 
quet." 

92, 3. to man you. To attend you. 

93, 15. an often courtier. Adverbs were often used as 
adjectives and -vice-versa . 

93. 16. in sinceritie. One of Chloe's expressions. See 32, 
30 and 33, 55. 



232 jl^otesf 

93, 20. most vehemently. Another of Chloc's expressions. 
See 34, 86. 

93, 30. fit of a poet. A. S. htt, a song. 

93» 33-4- so much ... to have. The correlative, "as," 
is omitted by Elizabethan usage. See Abbott, Shakespearian Gram- 
mar, ^ 281. 

94, 64. marmaset. There arc many references in Elizabethan 
literature to monkeys kept as pets. 

95, II. s-weet Captaine. The language of the gallant 
Crispinus. Cf. Marston, Scourge of Villanie^SiX.. 7. 

** He that salutes each gallant he doth meete 
With * farewell, sweet Captaine, kind hart, adew.'" 

95, 16. tir'd on . . .vulture. To "tire" is to tear, as a 
hawk does food. Gift'ord suggests that Jonson had in mind the story 
of Prometheus or Tityus, and quotes Horace, Carm. 3, 4, 77. 

95» ^7- Phoebus defend me. Dekker ridicules Jonson's 
allusions to Phoebus. See Satiromastix, 305, 1 40, and elsewhere. 

96, 19. holy street. Horace, Sat. I, 9, I, Ibam forti via 
sacra. Tibullus refers to in, i. 

96, 23. you talk't on. Crispinus had told Tucca of Chloe 
the wife of Albius, 82, 429. 

96, 26. Hector of citizens. Hector is usually equivalent to 
" bully " or '* blusterer." 

96, 30. Gods i' the capitoll. The Capitolium, the temple 
of Jupiter Optimus Maximus, contained three cells. In the middle 
one was the temple of Jupiter. The others were of Juno and Min- 
erva. 

96, 32. wedlocke. Wife, a Latinism, as Whalley indicates 
Matrimonium being used sometimes for uxor. 

96, 35. fine dressing. The quarto has "velvet cap" 
which was a mark of a citizen. The change here and in 52, 52 and 
63, may have been made to avoid offence to citizens. 

96, 39. scroile. A term of contempt, meaning originally, 
scrofulous person, from O. F. Eicrouelles, scrofula. 

97, 48-9. sort of goslings. Lot of foolish persons. 

97, 61. violl. " It appears from numerous passages in our old 
plays, that a viol de gambo (a bass-viol, as Jonson calls it in a sub- 



Mm 233 

sequent passage) was an indispensable piece of furniture in every 
fashionable house . . . whoever pretended to fashion, affected an 
acquaintance with this instrument." Gifford, in note on E'very 
Man out of his Humour, III, 3, 

98, 72-3. cockatrice . . . punke. See Satiromastix, 

363, 244. 

98, 74. set thee up, Chloe represented Venus, about whom 
Crispinus, the court poet, sang. «* Set thee up " may refer to this 
elevation of the citizen's wife in the eyes of the courtiers. To *< set 
up '• may mean *< astonish," as given in Wright's Pro-vincial Diet. 
quoted by Dr. Mallory, or it may mean «' to establish " or '« to 
cause to be elated." 

98, 75. puet. "So in the quarto and folios; a peewit, Jon- 
son's sneering pun." Nicholson. Whalley and Gifford read '< poet," 
following the 1716 edition. Nicholson is right. Puet vfzs an old 
form of Peeivit, a name of the lapwing from the sounds made by it. 

98, 78. scant. '* To make rhyme Gifford prints 'scant one,' 
but the metres, as also the quarto and folios, show that Jonson meant 
to make his adversary thus err, as no true poet." Nicholson. 

98, 89. odoriferous musicke. *' Odoriferous " is one of 
the absurd court words ridiculed in Cynthia s Re-vels, iv, 3. 

98, 90-1. Orpheus . . . Arion. Orpheus with his lyre and 
Arion on the back of a dolphin are both suggested to Tucca by the 
sight of Crispinus with the violl. 

98, 93. copy of this dittie. Poetry was commonly cir- 
culated in manuscript copies before it was printed. 

99, 97- bankerupt. See also loi, 178. This is a word re- 
sented by Dekker, Satiromastix, 363, 243. 

99.. 98- salt in 'hem. Cf. "Some salt it had," 171, 63, 
a classic use of the word < ' salt ' * meaning good sense, wit. Cf. 
Horace, Sat. i, 10, 3, sale multo urbem defricuit. 

99, 100. Canidia. See 86, 81, also Horace, Epod. 3, 8, 
and elsewhere. 

99. I02-3- Corinna . . . Cynthia . . . Nemesis 

. . . Delia. See 28, 31-2, and 28, 33, notes; also Jonson's 
Underivoods, xlv. 

99, loi. Propertiushis. "His was sometimes used, by mis- 
take, for 'j, the sign of the possessive case, particularly after a proper 



234 il^Otffi? 

name, and with especial frequency when the name ends in s. This 
mistake arose in very early times." Abbott, Shakespearian Gram- 
mar*^ 217. 

99, 106. 'tis Horaces. From what follows, it is clear that 
Jonson here ridicules Marston for *' borrowing," just as he had ridi- 
culed Daniel, as Matthew in E'ver\ Man in His Humour, iv. 2, for 
uttering "nothing but stolen remnants," a charge repeated in The 
Returne from Pernassus, Part ii (l. 2. 243-5). One of the charges 
made against Jonson by his enemies was that of stealing *' from 
other men " (CyntJiia's Re-vels, in, 2, and Poetaster, I49, 253) and 
"filching by translation." Jonson's Epigram 81 is on Prowle the 
Plagiary. See also Lodge, fVits Aiiseric, Introduction, p. xlii. There 
is nothing in Horace that can be considered the original of this song 
of Crispinus, except possibly Carm. 2, 8, 13-16, and no poem of 
Jonson's is like it, but it is interesting to note that Jonson used later 
in The Hue and Cry after Cupid the ideas of this song. 

I. Grace. Beauties, have ye seen this toy, 

Called Love, a little boy. 

Almost naked, wanton, blind ; etc, 

Spenser in a letter to Gabriel Harvey sends some lines containing 
the same ideas, Harvey, tA. Grosart I. 36. The custom of circula- 
ting odes etc. in manuscript would account for many allusions to 
poems of which no copy has been preserved. 

99, iio-ii. Q, "Knightes, and men of worshippe," Jonson 
omitted the mention of Knights in revising the play (see Introduc- 
tion to this volume, p. liii) but Dekker reminds Jonson of his allu- 
sions to Knights in Satiromastix, 39I, 365. "When a knight or 
sentlemen of urship," etc. 

99, 112-13. colledge of criticks. Cf. Dekker, The Gul$ 
Horne-Booke ( Temple Classics, pp. 8-9 ) " A fig therefore for the new- 
found Colledge of Criticks" etc. In the Induction to The Malcon- 
tent (1604-4°) 1601-02, Marston writes: Sinkcloiv. "Nay, 
truly, I am no great censurer, and yet I might have beene one of 
the Colledge of Crittickes once : " 

99, 1 1 5-1 9. a meere spunge . . . drie againe. William 
Winstanley, perhaps with this passage in mind, wrote of Jonson: "Hii 
[Jonson's] constant humour was to sit silent in learned Company, and 



il^otesf 235 

suck in (besides Wine) their several Humours into his observationj 
what was Ore in others he was able to refine unto himself." The 
Li'ves of the Most Famous English Poets (1687), p. 124. Jonson's 
Timber or Disco-veries made upon Men and Matter is composed of the 
results of his reading and observation, and shows the breadth of each. 
99, 120-21. poeticall Furie. Cf. Puttenham (1589), Eng- 
lish Poesie (Arber's reprint, p. 20) : Poesie "cannot grow, but by 
some divine instinct, the Platonicks call it furor " : also E-very Man 
out of his Humour^ Induction, *' Why this is r\^t furor Poeticus.^* 

99, 122-100, 123. satyricall rascall . . . home. Dek- 
ker introduces Jonson as Horace, with Bubo " pul'd in by the homes 
bound both like Satj'res." Satiromastix^ p. 383. Jonson's lines " hey 
in his home . . . point at him " are Horace, Sat. i, 4, 34-38 trans- 
lated with slight changes. 

100, 12,3-4. hC'wil . . . jest. Drummond wrote of Jonson, 
" given rather to losse a friend than a jest." Con-versations Sh. Soc. 
p. 40. 

100, 13 1-2. rie have the slave Whipt. See Satiromastix^ 

387, 264. 

100, 134-46. Wee'll . . . i'faith. This refers to the writ- 
ing of Satiromastix by Dekker, as a reply to Poetaster. Jonson was 
of course endeavoring to diminish the force of Dekker' s play by 
anticipating the charges. 

100, 135-7. arrogancie, . . . impudence . . . trans- 
lating. The last scene in Poetaster is Jonson's reply to these ac- 
cusations, which must have been made many times, and by others be- 
sides Marston and Dekker. But the general situation involved others 
besides Jonson, for Lodge in fFits Miserie 1596 (see Introduction 
to this volume, p. xlii) says of jealousy : let a man ** write well, 
he hath stollen it out of some note booke ; let him translate, Tut, it 
is not of his owne," etc. 

100, 136-7. commending his owne things. An allu- 
sion perhaps to the Epilogue of Cynthia'' s Re-ve/s. We must not forget 
that there are probably many allusions to poems which were never 
in print. Jonson, Dekker, Marston, and other poets were meeting 
each other daily in the streets and taverns, and much must have 
passed between them of which we have no account, but which wag 
well known to an Elizabethan audience. 



236 iliotetf 

100, 139. new SUte. See Satlromastix, 295, 395, where 
Dekker replies tojonson's ridicule of his worn-out clothes. 

100, 142. little neufts. " This spelling bears out Skinner's 
idea that a newt is an eft, a small lizard." Cunningham. Cf. 
Bart/t. Fair, 11, 3. Knockhum : "What.? thoult poyson mee with 
a neuft in a bottle of Ale, wilft thou ? " 

100, 142-3. rie bee your intelligencer. Tucca, in 

Satiromastix, leads in the abuse of Horace. 

100, 145-6. We shall sup . . . conspire. Doubtless 
the way in which the plot to " untruss Horace" was hatched, and 
Jonson probably saw some of their meetings at the tavern. 

100, 149. Pythagoreans. An allusion to the well-known 
fact that silence was imposed upon his pupils for a time, varying with 
each, by Pythagoras. 

101,151. as fishes. Cf. Jonson's Masque, the /F'or/i/ rnM^ 
Mootiy 2 Herald /oy. : *' Pythagoreans, all dumb as fishes." Mal- 
lory. 

lOi, 160-65. Ha's Mars . . . is't ? This is Chloe of 
London speaking. Jonson does not try to keep his characters true 
to Roman history, for his play is concerned with the people of his 
own day. 

lOi, 163-5. Crispinus . . . Mercury. Gallus denies 
that Crispinus-Mercury is a poet, but says that he is "somewhat in- 
clining that way." This is a hit at Marston. 

101, 167. Herald at armes. An officer of State whose 
duty was to make state or royal proclamations. 

lOI, 170. ■with her face. This refers to cosmetics which 
contained mercury. In Cynthia s Re-vels, i, i, quoted by Dr. Mal- 
lory, Cupid says, ". . . your palmes . . . are as tender as the foot 
of a foundred nagge, or a ladies face new mercuried . . ." 

I03> 39- fetch in the dogge. Cf. the saying, "Try it on 
the dog." 

104, 7-8. Momus . . . the God of reprehension. 
Regarded by the Greeks as the God of criticism or blame. The 
Romans regarded him, however, as the God of pleasantry, who 
was continually ridiculing the other Gods. 

105, II. the Deities . . . this high banquet. "... 
the poet had Homer \^Iliad i, 493-61 1] in his eye, who reconciles 



il^otesf 237 

the quarrelsome deities by Vulcan's buffoonery and archness of be- 
haviour, who takes on himself the office of skinker to the celestial 
assembly." Whalley. See also below 114, i, note. 

105, 15. licentious goodness. A play on "licentious" 
which means unrestrained, unlimited, and also dissolute, lewd. 

106, 31-3. Every lover . . . their. Plural pronoun after 
the distributive "every." See Abbott, Shakespearian Grammar 
^ 12 and cf. Shakespeare, Rape of Lucrece : 

'* And every one to rest themsel'ves betake." 

106, 44. give our jester a stoole. Dr. MaUory's note 
mentions Jonson's charge that Dekker is a jester. This passage refers 
to Momus (Hei-mogenes) the god who ridicules the other gods. It 
does not refer to Demetrius (Dekker) who left the stage I02, 180, 
and does not appear again until 139, Scene 3, though he is men- 
tioned as busily writing II9, 32. 

107, 48. cuckold. A man whose wife is unfaithful. The 
word is derived from " cuckoo " a bird that lays its eggs in another 
bird's nest. 

107, 52-3. I have read . . . wisdome. Tivelftk Night 
has been mentioned as the book read by Albius. Dr. Furness says 
{Twelfth Night, p. 186), ** Jonson could not use the words ' read in 
a book ' when in truth it had only been heard on the stage. Pos- 
sibly, the book to which Jonson refers is Guazzo's Ci-vile Con'ver- 
sation, translated by ' G. pcttie ' and published in 1586, wherein, 
on p. 74, is the following : « To plaie the foole well, it behooveth 
a man first to be wise.' " 

107,60. while you live againe. When vou resume your 
life as a mortal. 

107, 61. twelve in a COmpanie. There were twelve in 
this company. Perhaps Jonson had in mind Horace, Sat. i, 4, 86-7. 
Saepe tribus lectis -videos coenare quaternos, etc. 

107,64. mum. Silent. Perhaps this is the meaning every time 
Albius uses the word. 

108, 76. horn-booke. Originally a leaf of paper containing 
the alphabet and a few simple words, generally the Lord's Prayer, 
and covered with a tiiin covering of horn to preserve it. It was usu- 
ally mounted on a small board with a handle and was the primer 
for children. 



238 jpOtC0 

108, 86. stut for anger. See 22, 208, note. 
108,96. ranging. Wandering at large. Julia-Juno is jealous 
of Chloe- Venus tor whom Ovid-Jupiter has just expressed affection. 

108, 102. paint it. Women painted their faces. 

109, 103. cot-queane. N. E. D. gives "cot-queen" as the 
derivation, meaning " housewife of a labourer's cot," hence woman 
of coarse manners, a scold : used also of a man who meddles in affairs 
of a housewife. Gifford explains the word as derived from " cuck- 
quean," corresponding to *' cuckold," and quotes Warner, yilbton^ t 
England C. iv. j 

Queene Juno, not a little wroth against her husband's crime, 
By whom she was a cuckqucane made. 

109, 119. Thetis. This is a reference to Homer, Iliad i^ 
511-560 where the jealousy of Hera (Juno) and Thetis is spoken of. 

109, 122. Phrygian frie. Ganymede is so called because 
Tros his father was a King of Phrygia. 

109, 126. cudgell ... by styx. Play on •<8tyx" = 
sticks. 

110, 129-31. Yea . . . scolding. Cf Homer, I/iad, i, 
528-530 and 580. The " oyster boat" is of course an allusion to 
the scolding of the fish-market which has made *' Billingsgate" a 
name for bad language. 

110,132. your nose. See 114, 237, «♦ well-nos'd poet 
Ovid." Ovid's name was Publius Ovidius Naso (nasus = large 
nosed). 

IIO, 135. shall be a home. Cuckolds were said to wear 
horns on the brow. The origin of this, seemingly referred to in later 
Greek in the phrase Kepara -rroiely rivi, ... is referred ... to 
the practice formerly prevalent of planting or engrafting the spurs of 
a castrated cock on rhe root of the excised comb, where they grew 
and became horns, sometimes of several inches long." N. E. D. 

1 10, 140. COt-queanitie. The quarto has here several lines, 
and evidently stage '* business," which are omitted from the folio. 

IIO, 142. hammers and . . . Cyclops. Albius was 
Vulcan, and the Cyclops were the progenitors of all smiths. 

IIO, 149-50. lame skinker. A skinker was a person who 
served drinks. Vulcan was lame. 



jl^otesf 239 

110, 151. good livers. The liver was regarded by the 
Greeks and Romans as the seat of the passions, as was later the 
heart. 

111, 161. his tongue. Vulcan's (Albius') tongue. 

Ill, 161, gent'man usher. An usher was originally a 
doorkeeper, but the term came to be used more generally. Gentle- 
men performed the duties of ushers at court, and in the houses of 
the nobility. 

Ill, 166. to cry your jests: i.e. announce or advertise as 
a ** crier," 

III, 169. blocke of wit in fashion. See Satiromastix, 
285, 147, note. 

Ill, 171. not artificers. There is a play on the word as 
applied here to Albius, for he was a jeweller, and also Vulcan. 

111, 174. so long, till. As Dr. Mallory has noted, this is 
" a strange construction. We should now write * so long that,* or 
substitute * until.' " 

112, 182. A song. Homer, ///W, i, 595-604, speaks of the 
laughter of the Gods, as Vulcan went about pouring out nectar, and 
of the music of Apollo and the Muses. Gallus, who makes the sug- 
gestion, is Apollo. 

112, 195. Wake, our mirth. Albius evidently begins the 
song. 

113, 208-19. Then . . . excell. Mercury-Crispinus and 
Momus-Hermogenes were evidently played by boys with unusually 
good voices, as they sang before, 46, 193, and 47, 210. 

113, 212. feast of sense. Possibly, as Dr. Mallory suggests, 
Jonson was thinking of the title of Ovid's Banquet of Sense, which 
had been published by Chapman in 1595. 

113, 227. beautifull and wanton . . . Julia. Julia, 
the daughter of Augustus, was banished by her father to the island 
of Pandataria for her adulteries. See II 6, 56, note. 

114, I. What sight is this ? Whalley says truly that this 
feast is not of Ovid's invention, but of that of the Emperor himself. 
"The account is preserved in Snttom\i%\^Augustus 70], who tells 
us, that on this occasion, Augustus assumed the dress and character 
of Apollo." In order to preseiir Augustus as of high character, 
Ovid is made responsible for the feast. 



240 i^OtCflf 

114, 5. Let us doe sacrifice ? VVhalley puts these words 
in quotation marks as what the attendants should say. Gifford re- 
gards them as a command of Caesar. Nicholson follows Gifford. 
The folios print the words in italics, leaving either interpretation pos- 
sible. When the banqueters kneel, Caesar knows that they are not 
gods. 

115, 10. looke not, man. "He addresses himself." 
Nicholson. 

115, II. There is a panther. Meaning his daughter Julia. 
Pliny states {Nat. Hist. z. 274) that the panther hides its head in 
order that its looks may not affright animals which are attracted by 
its sweet odor. 

116, 32. these, i.e. Albius, Chloe, and Crispinus, whom 
Cjesar does not know. 

116, 33. monster, i.e. Julia. 

116, 35. are you. i.e. Ovid, Gallus, Tibullus, Hermogenes, 
Plautia, and Cytheris, who remain with Julia, the others having 
gone out. Cafsar speaks especially to the poets present. 

116, 42. centaures. A reference to the myth that the cen- 
taurs sprang from the embraces of Ixion and a cloud in the form of 
Juno. 

116,46-7. When — lives. The idea that poets should teach 
and " eternize *' virtue, is stated definitely by Jonson in the dedica- 
tion of Volpone, in which he speaks of '* the impossibility of any 
man's being the good poet, without first being a good man." 

116, 56. we exile thy feete. Ovid was exiled by Augustus, 
but the real cause of his exile is not known. He seems to attribute 
it to his poetn,', especially the Ars Amatoria. But that had been 
published some years before. Julia (not the daughter but her daughter) 
was banished in the same year as Ovid. Her mother, the Julia of 
Poetaster^ had been banished earlier, though Jonson, evidently in- 
tentionally, seems to combine the two Julias. As Gifford remarks, 
"Jonson, however, speaks not of his banishment, but simply of 
his exile from court." 

117,60. soft-hearted sire. Because he did not slay Julia a» 
he offered to do, II5, 13. 

117, 64. reall goodnesse. "Reall" here may be either 
of the two words, of diff^erent derivation, but the same spelling. As 



iptotesf 241 

Dr. Mallory has noticed, the use of*' royall " in 1. 62 suggests that 
**reaH" is the word derived through '* regal," (Cf. Loyal, leal, 
legal.) " Real " is one of the words ridiculed by Marston in the 
Scourge of Villame (preface) as * ' nev/-minted Epithets. ' ' 

118, 10. humours, Horace. The allusion is to the titles 
of Jonson's plays Ei-ery Man in hts Humour and E-very Man out of 
his Humour and to his discussion of ' ' humours ' ' in them. The 
1640 folio reads " hum.orous Horace." 

118, II. fawne. This word is used with the meaning of servile 
fondness, and also spy or informer, as here and in 1 32, 95. Cf. the 
title of Marston's play Parasitaster or the Faivne. 1606, quarto. 
See N. E. D. 

118, 16. Thou Shalt libell. Referring to the forthcoming 
Satiromastix, and also to the immediate interview with Horace. 

118, 18-19. tarn Marti quam Mercuric. Tucca and 
Crispinus had been Mars and Mercury respectively. The meaning 
is **By Mars [cudgel] as well as by Mercury [libel] " Nicholson. 

119, 20. give this out. Cf, Cynthia's Re-veh, in. 2. "I'll 
give out that all he does," etc. 

119, 21. Horace is a man of the sword. This allusion 
is to Horace-Jonson and has no reference to the Roman Horace, 
although in Carm. 2. 7. 9-12, Horace does speak of having fled at 
the battle of Philippi leaving his shield, Dekker quotes these lines 
in Satiromastix, 347, 7^. In Con-versations ivith Drummond^ Sh. 
Soc. 1842, pp. 18, 19, Jonson mentioned his services in the Low 
Countries, and his duel in which he killed Gabriel Spencer. For the 
latter he came near hanging but was saved by his " neck verse," 
Dekker refers to this also in Satiromastix^ 285» 142', note. In Cyn- 
thia'' s Revels, II. 3, Mercury says of Crites-Jonson *' For his valour, 
'tis such that he dares as little to offer an injury as to receive one." 
In Satiromastix Horace-Jonson is stabbed with a pippin to show his 
valour, 359, 153. 

119, 25. puck fist. In 141, 40, Horace is called ** Poet 
puck fist " by Tucca. The term is one of contempt. *' Puck-fist " 
is a puff ball, and is used of a braggart, and also by what the N. E. D. 
regards as *' ? an erroneous use " of ** a miser." 

119,28, prophet. Seei29, 37. This word has come to have 
in English the meaning '* foreteller " whereas the Greek 7r^o0i}r:}S, 



242 iPoteflf 

from which it is derived, means forth-teller, spokesman, representa- 
tive. Poets are called by Plato [Pkaedr. 262 D) ol tQ)v 'hlovaCbv 
Trpv(p7JTai. 

119, 28. little fat Horace. Horace-Jonson was really at 
this time thin, hence Tucca's humour. In Satiromastix, 388, 289- 
293, Horace is called a ** leane — hollow-cheekt scrag." 

119, 32. our journey-man . . . untrussing. Sec 80, 
368, where Histrio announces that Demetrius (Dckker) had been 
'* hir'd to abuse Horace " (Jonson). The Untrussing of the Humor- 
ous Poet is the alternative title of Satiromastix. Sec also, Satiro' 
mastix, 286, 171, note. 

119, 36. innocent. Crispinus (Marston) wrote no part of 
Satiromastix. 

119, 36. Exeunt. There is no new scene here, though 
Nicholson follows Gifford in indicating one. 

119, 40. your stager, i.e. Histrio. 

119, 44. unworthy groome. Groomc was a general term 
for servant. 

120, 49. 'wolvish traine. One of a number of puns on the 
name Lupus — wolf. See 120, 64. 

120, 53. moths and scarabes. Cf. Sejanus, m, 3. 
♦* Worms and moths breed out of too much humour in the things 
which after they consume." 

120, 57. cob-vreb masque. Thin flimsy pretence. 
120,62. false lapwing-cries. '* The lapwing flutters and 

cries to divert attention from its nest." Nicholson. 

121, 68. poyson . . . open eare. The idea of poison in the 
ear, used literally in Hamlet, i, 5, is often used figuratively as here. 

121, I-I22, 30. Banisht . . . breath. Gifford regarded 
this scene as ridiculous, but Cunningham refers to Charles Lamb's 
praise of it. The story of Ovid is alluded to by other writers of 
Jonson's time: cf. Hawey (ed. Grosart, i, 192), and Nashe (ed. 
Grosart, 2, 219). 

121, 6. spheare. Sec 19, 136, note. 

121, 9. circle, a magician. Cf. More {Dial. Heresyes 
(1529) I Wks. 120. *' Negromancers put their trust in their 
cercles, within which they thinke them self sure against all ye devils 
in hel." 



^om 243 

122,1. S. D. Shee appeareth above. This stage direc- 
tion and the whole scene suggest of course the balcony scene in 
Romeo and Juliet. For an account of the staging of an Elizabethan 
play see Some principles of Elizabethan Staging, by G. F. Reynolds, 
Mod. Phil. II and in, 1904-05, 

125,50. preying toward Stormes. Seeking prey against 
the wind, or while a storm is coming on. 

125,61. Thy affections. The emotions and opinions of her 
father are not hers. 

127, 105. silken armes. Curtains behind which Julia has 
withdrawn. 

128, 8, A SOuldier of renowne. C. Cornelius Gallus, the 
poet, was also a soldier under Julius Caesar and Augustus Caesar. 
The latter made him the first prefect of Egypt. 

128, 10. quarried. This may be taken with "Eagles" or 
with *' ^gypt," but is perhaps better with the latter. 

128, II. cold formes — out-termes. "Merely the figures, 
and outlines of men." Whalley. 

129, 17. poesies sacred garlands. Gallus and Tibullus 

were both Roman poets. 

129, 1 7. your gentrie. i. e. as true poets. For a similar pass- 
age on the perfection and dignity of poetry see E-very Man in his 
Humour (quarto) v. I, lines vvhich Jonson omitted from the folio. 

129, 32. Pierian artes. The arts presided over by the 
Pierides or Muses. 

129, 33-7. Your . . . contempt. Jonson in many places 
inveighs against those who abuse the name of poet. Cf. Induction 
to Volpone. 

131, 63. Miserie. Miserliness. 

131, 76. rankt higher. This refers to social rank, not to 
rank as poets. 

131, 84. path-lesse, moorish minds. Minds like a 

pathless moor, barren. 

132, 88. nectar . . . keepes sweet. Nectar was an 

elixir of immortality, and Thetis bathed the body of Patroclus in it 
to preserve it from decay. Iliad, 19, 38. 

132, 90. free as Caesars. Cf the "Grex," or chorus of 
Every Man out of his Humour ^ in which Asper-Jonson says, " I 



244 jiiotrs; 

fear no mood stamped in a private brow," etc., and the Prologue 
to Cynthia i Rci-e/s, " Pied ignorance she [Jonson's muse] neither 
loves nor fears," etc. 

132,101. revolutions of discourse. " Thus badly would 
he express, ' By much revolving of his thoughts. ' " Nicholson. 

132, 103. tartarous moodes. Cf. 81, 392, " herecomes 
the Tartar," referring to Demetrius, the impudent slanderer. 
"Tartarous" and "Tartarian," adjectives from " Tartar," have 
the same meaning, barbarous, turbulent. Cf. The Returns from 
Parnassus^ i, 2. 1 . "he cald me * Pagan, Tartarian, heathen man, 
base plebeian.' " 

133, 1 1 6-134, n^- But . . . now. There is no evi- 
dence which will enable us to identify Virgil with any actual person 
except the Roman poet. Gifford has a long note on the subject in 
which he argues that Virgil was Shakespeare, an opinion accepted 
by Mr. Sidney Lee [Shakespeare^ 174)- That Chapman was the 
person represented, Fleay (^Biog. Chron. I. 367), Ward (Engl. 
Dram. Lit. z. 360) and Herford [Jonson^ Mermaid ed., I, 
xxxiii-xxxiv) think. 

133, 128. materiall Horace, i.e. full of solid sense, 
matter. Horace is asked to judge of Virgil's ** learning," a compli- 
ment to Horace-Jonson. 

135, 20. Sensuall complement. The meaning is not 
clear. "Complement" means that which 'completes' the char- 
acter of a man, here a king, in appearance or demeanour. The 
qualities of Virgil are spiritual, those of a king often external, or 
"sensual]." The " senselesse paper" reveals more royalty than 
do these surroundings of a king. 

137, 56-139, 97- Meane . . . monster. yEw^W, 4, 160- 
189. Jonson has added as notes the names of persons referred to. 

I39» I- Come: — 166, 669, scarlet. Gifford says of this 
scene, " The author has interwoven an ingenious satire of Lucian 
[The Lexiphanes] in his scenes; but the chief object of his imita- 
tion was the Frogs of Aristophanes. That ancient comedy was the 
Rehearsal of Athens, as this undoubtedly was of the age of Jonson: 
. . ." Gifford-Cunningham, vol. 11, p. 522. 

140, 1 1. W^hat ? An exclamation of impatience as well as of 
interrogation. See Abbott, Shakespearian Grammar^ ^ 73a. 



J^ott& 245 

140, 14. What noise. It is not necessary to suppose, as 
Nicholson does, that Lupus and his companions are visible to the 
audience. 

140, 34. thy perruke. In pushing past him Tucca evidently 
disarranged the wig of the knight. Peruke was used also of natural 
hair, but the use was antiquated in 1601. 

141, 38. Satyre. Horace is introduced dressed like a Satyr 
in Satiromastix^ 383, S. D. 

141, 39-40. humours . . . squeeze. Cf. E-very Man 

out of his Humour y Induction, " Squeeze cut the humour of such 
spongy souls." 

141, 44. flaggon chaine. Strictly, a chain from which a 
small bottle (Fr. Jiacon) of perfume was suspended. Tucca may 
mean nothing more than " chaine." 

141, 46-7. party-colour'd. Referring to the clothing or 
uniform of the lictors. 

141, 50. A libell. In this case the " libell " was interpreted 
by Lupus, first, as directed against Caesar, and then ( I43, 100) as 
directed against himself. We do not know whether Jonson referred 
to any actual incident. He was involved in legal troubles for satiriz- 
ing lawyers and soldiers in Poetaster (see Dedication and the ^po- 
logeticall Dialogue) and for his share in Eastward Hoe (1604) of 
which he told Drummond. {Con'versations, p. 20. Shakespeare So- 
ciety, 1842). 

141, 56. begge their land. "It was the practice of the 
greedy courtiers at the Reformation to scent out such lands as became 
forfeited to the crown, and beg the grant of them." Gifford. In 
his note on E'very Man in his Humour, iv, i, Gifford quotes Strype, 
Annals of Elizabeth, 2, 209, to which Whalley had referred, for an 
account of the begging of land. 

141, 61. His hand is at it. Quoted by Dekker in Satiro- 
mastix, 318, 88. 

141, 62. 'tis no libell. W. H. Loyd, Esq., of the Phila- 
delphia Bar, gives me the following note on the subject of libels. 

" The law of England even under the Anglo-Saxon line of princes 
took severe and exemplary notice of defamation, as an offence against 
the public peace, and in the time of Henry III, Bracton adopted the 
language of the Institutes of Justmian and held slander and libellous 



246 jpotrflf 

writings to be actionable injuries. But the first private suit for sland- 
erous words to be met with in the English law was in the reign of 
Edward III, and for the high offense of charging another with a crime 
which endangered his life. The mischiefs of licensed abuse were felt 
to be so extensive and so incompatible with the preservation of peace 
that several acts of parliament known as the statutes de scandalis 
magnatum were passed to suppress and punish the propagation of false 
and malicious slander. They arc said to have been declaratory of the 
common law, and actions of slander were slowly but gradually mul- 
tiplied between the time of Edward III, and the reign of Elizabeth, 
when they became frequent. The remedy was applied to a variety 
of cases ; and in a private action of slander for damages and even in 
the action of scandalum magnatum the defendant was allowed to 
justify by showing the truth of the fact charged, for if the words 
were true it was then a case of damnum absque injuria, according 
to the just opinion of Paulus in the civil law. But in the case of 
a public prosecution for a libel, it became the established principle 
of the English law as declared in the court of Star Chamber about 
the beginning of the reign of James I, that the truth of the libel 
could not be shown by way of justification, because, whether true 
or false, it was equally dangerous to the public peace. The same 
doctrine remains to this day unshaken." (2 Kent's Commentaries^ 
page 18.) This doctrine, that ^^ the greater the truth the greater the 
libel, ^^ has been repudiated in most, if not all, of the states (see note 
to 2 Kent's Comm. pp. 19-26), and modified in England. 

141,63. Embleme. An embleme was a picture with a moral 
or story, with a verse or sentences attached as here. That Jonson 
was given to this sort of thing is stated by Dekker in Satiromastix, 
391, 382. 

142, 64. greeke for a libell. Lupus, a Roman, means 
** now you are using a Greek word, but it is a libel just the same." 

142, 77. give the eagle. " Gi-ve is a term in heraldry; to 
take or assume, as a particular bearing, in the escutcheon." Gifford. 

142, 82. my long-sword. See Satiromastix, 343, 242. 
As in 102, 10 the sword of Lupus is carried by one of the lictors. 

143, 95. Buskins. Referring to the high boots worn by 
Lupus, not to the boots of a tragedian, unless Lupus is humorously 
supposed to be enacting tragedy. 



jl^otesf 247 

143, 104. an asse. The name Asinius, to which Lupus 
applies this, was borrowed by Dekker for his quite different charac- 
ter Asinius Bubo. 

144,119. a politician. See also 79, 337, note. Some player 
had probably m.ingled in public or state matters and incurred the en- 
mity of Jonson. In 11. 134-7, it is implied that the company to 
which Aesope belonged was seeking a ' ' monopoly of playing. ' ' The 
royal patronage was, however, at that time enjoyed by the Chapel 
Children who were performing Poetaster. See 80, 374—376, note. 
Rivalry between companies as well as personal enmities had much to 
do with the War of the Theatres. 

144, 123. Master Aesope. See 79, 337 note. 

144, 127. this gent'man. Crispinus-Marston is meant, and 
"his achates " (^^« J Achates, Aeneid, i. 188) is Demetrius. 

144, 131. a gent'man of quality. Jonson repeatedly ridi- 
cules Crispinus-Marston for his pretensions of birth. See 35, 106— 
120, and elsewhere. 

144, 132. out of clothes. See Satiromastix, 295, 395-7, 
and Poetaster, 53, 79-83. 

144, 134. monopoly. The granting of monopolies of all 
kinds became an abuse, as Whalley and Gifford note, and there were 
many complaints in consequence. See Adams and Stephens Select 
Docs, of Eng. Const. Hist. 1902, p. 325 for message of Elizabeth 
to Commons on the subject Nov. 25, 1601. In Satiromastix, 343, 
246, Dekker mentions the use of influence at court to secure an 
appointment as Master of Revels. 

^45» '^39- ^^ whipt. The Roman praetor had authority to 
whip actors. See Suetonius, Octa'vius Augustus, 11, cap. 45. 

lAK, 142. larger eares. Both Jonson and Dekker resort to 
this means of making characters ridiculous. Lupus has '* a paire of 
larger eares" fastened on him, and is gagged. Horace and Asinius 
are furnished with horns Satiromastix, 383, S. D. Tucca has a 
case of vizards (i.e. pair of masks) put on him and is gagged, 158, 
459-60. Demetrius is furnished with a coate and cap, 164, 614. 
In the old Timon as Fleay {Biog. Chron. i, 369) noted, in connec- 
tion with Poetaster, a cap is put on Stilpo's head and Hermogenes 
says, ** This philosopher is changed into an asse." 

145,150-7. 'Tis not . . . spleene. These lines are sim- 



248 il^otefif 

ilar in sentiment to Marston's To him that hath perused me, z^ftnAeA 
to The Scourge of Villanie, and to Jonson's statements in the Apo- 
logeticall Dialogue and in the Dedication of Volpone. 

146, 168. turne sharke. I.e. swindler. Cf. character of Shift, 
Efery Man out of His Humour. 

146, 169. three SOules. " The Peripatetic philosophy gave 
every man three souls 5 a plastic, an animal, and a rational soul." 
Whalley. Cf. also Norton's Ordinall, Ashmole, Theatrum Chemi- 
cum^ p. 81. 

*' By meanes of a treble spirit, 
The soulc of man is to his body knit. 
Of which three spirits one is called vitall. 
The second is called the spirit natural), 
The third spirit is spirit animall." 

146, 171. hieroglyphick. Cf. The Case is Altered, I, I. 
** You mad hieroglyphic." Gabriel Harvey uses the word (as do 
other writers) and his vocabulary is certainly ridiculed by Jonson as 
has been shown by Mr. H. C. Hart. Notes and iSeries, 9 ser. xii, 
p. 161. Marston also uses it, "Tut, hang up Hieroglyphickes," 
Scourge of f^il/anie, Sat. I. 78. In the present passage it refers to 
Horace. 

146, 177. Praetor. The Praetors, of whom there were two, 
after the first Punic War, were magistrates charged with the admin- 
istration of justice. 

147, 188-9. the statute of Calumny: i.e. The Lex Rem- 
mia of 148, 236. " According to Marcian, the punishment for ca- 
lumnia was fixed by the lex Remmia, or, as it is sometimes, perhaps 
incorrectly named, the lex Memmia (Val. Max. iii, 7 & 9). But it is 
not known when this lex was passed, nor what were its penalties. 
It appears from Cicero [Pro. Sext. Rose. Amerino, c. 20), that the 
false accuser might be branded on the forehead with the letter K, 
the initial of Kalumnia ; and it has been conjectured, though it is 
mere conjecture, that this punishment was inflicted by the lex Rem- 
mia." Diet. Greek & Roman Antij. William Smith (1870 2nd 
Ed. ) s.v. Calumnia. Jonson had himself been branded on the thumb 
with the Tyburn mark T for killing Gabriel Spencer in a duel. The 
original indictment is reprinted in The Athenaum, Mar, 6, 1886, 
p. 337. See Satiromastix, 285, 141, note. 



jpotes? 249 

147, 194. I take no knowledge. This attitude of Horace 
was taken by Crites-Jonson in Cynthia s Re-vels in the speech (111. 3) 
beginning *' Do good Detraction do " etc. (a speech quoted from 
by Dekker in Satiromastix, 286, 183; 287, 194), and alao in the 

^pologeticall Dialogue, 

147, 200-1. briske Poetaster . . . poore journey- 
man. See 71, 126, and 1 19, 32, note. 

147, 206. detracting slaves. "Detraction" is a word 
used frequently by these Satirists. Marston dedicated his Scourge of 
Villanie '* To Detraction " and Dekker refers to *' that mad dog 
Detraction" in the Dedication oi Satiromastix. 

147, 207. spread golls. See Satiromastix, 298, 482, note. 

147, 209. a cleane band. The allusion is to the soiled appear- 
ance, poverty, of Demetrius-Dekker. A band was a kind of collar. 

148,233- Rufus Laberius Crispinus. Horace speaks of 
Crispinus several times and calls him *' Crispini scrinia lippi ".(blear- 
eyed). Sat. I, I, I20 and ** ineptum (absurd) Crispinum," iSat. i, 
3, 138-9. Horace mentions [Decimus] Laberius [Sat. i. 10, 6) 
who is criticised by Aulus Gellius (xvi, cap. 7) the subject of the 
chapter being ^od Laberius I'erba pleraque licentius petulantiusque 
finxit : quod multis item -verbis utitur, de quibus an sit Latina quaeri 
solet. This is exactly the charge brought by Jonson against Marston 
and openly pressed in Poetaster. The vocabulary of Marston like that 
of Laberius was criticised. To the names Laberius and Crispinus, 
Jonson added Rufus, red-haired (86642, 95 note), perhaps a per- 
sonal reference to Marston. 

148, ^33- Demetrius Fannius. Horace mentions De- 
metrius and a Fannius in Sat. i, 10, 79-80. The former rails at 
the absent {yellicet absentem)^ the latter is a mere table companion 
of Hermogenes Tigellius. Jonson has evidently combined the names 
and the characteristics of both in his character, who represents 
Dekker. 

148, 238. Poetaster, and plagiary. Crispinus had been 
called " plagiary," 99, 107, and " Poetaster," 71, 126, see note. 

148, 238. Crispinus. See 35, 115, where the name is di- 
vided Cri-spinas, and Satiromastix, 313, 50, Crispin-asse. 

148,239-40. play-dresser, and plagiary. See 80, 367, 
note and Satiromastix, 296, 408. 



250 jl^otes; 

149, 248. priest to the Muses. Dekker remembers this 

expression: see iiatiromastix , 280, 8, and 305, 140- 

149, 252-4. taxing him . . . translation. Jonson is, 
of course, trying to anticipate the charges that would be made in 
Sdtirommtix. What Dekker actually did was to ridicule Jonson as 
Horace tor satirizing his best friends and then denying that he had 
done so ; slowness of composition ; trial for murder of Gabriel 
Spencer ; boasting that he was Phcebus' Priest ; self-praise ; railing ; 
writing epigrams ; being a bad actor ; attacking citizens in his plays ; 
having a homely face ; making faces when he read poetry; wearing 
shabby clothes ; using old jests from the Temple Revels ; sitting in 
the gallery at his own plays ; going on the stage at his own plays to 
make himself known to the Lords and to the audience ; making 
jests on knights and gentlemen who had been friendly to him ; 
crying mew when his plays were not liked at court ; not paying 
his "shot" at the tavern. It will be seen that " translating " is 
not among Dekker's charges. Marston had made that charge in 
Histriomastix (1599, as altered by Marston) when he made Mav- 
ortius address Chrisoganus-Jonson in these words " How you trans- 
lating-scholler ? You can make a stabbing satiror an Epigram, etc." 
(Act II, 1. 57-) See The War of the Theatrei, p. 34. 

149, 267. in commission: i.e. as one of those to whom had 
been '* committed " the trial of the accused. 

150,281. thunder-darting Jove. See 113, 231, Jupiter 
Altitonans. 

150, 281-3. thunder-darting Jove . . . v^rhite . . . 
SOUles. Oaths were administered by the Praetor in cases of Justice 
as here. The oath by Jupiter was appropriate, as he presided overall 
transactions based on justice and involving the sanctity of an oath. 
White was the color sacred to him as indicative of the light of heaven. 
White animals were sacrificed to Jupiter, and his priests wore white. 
" White soules " means pure " uncorrupted soules," See Satiro- 
mastix, 358, 120, note. 

' 150, 282. Genius of Augustus Caesar. '* The genii of 

men were regarded as divine beings, and persons used to swear by 
their own genius, or by that of a friend, and during the empire by 
that of an emperor (Horat. Epist. I, 7, 94J Suet. Calig. 27)," 
W. Smith's Diet. Grce^ (5 Rom. Antiq. 1 870 s. v. " Jusjurandum." 



jl^otes? 251 

150, 288. writ. A writing, referring to the verses to be read. 
The word is used now only as a law term. 

150, 291-2. Minerva . . . Pallas. The myth was that 
Minerva (Lat.) Pallas (Gr.) sprang from the forehead of Jupiter 
(Lat.), Zeus (Gr.). 

151, 299-152, 341. Rampe up . . . deare. Theverses 

attributed to Crispinus and Demetrius are intended to ridicule the 
vocabulary and rough styles of Marston and the '* loose and desultory 
style of Dekker " (Giffbrd's expression). Some of the words and 
phrases are actual quotations from Marston' s writings, but none are 
from Dekker, so far as we know. 

I5I> 2,99. ramp up, my genius. Cf Antonio and MelUda, 
II, Prologue. *' The rawkish danke of Clum-zie winter rampes.^* 
*' Clumzie *' is ridiculed later, being disgorged by Crispinus. 

I5i> ^99- be not retrograde. "Retrograde" has not 
been found in Marston's works. Some of the words here mentioned 
may have been used in works of Marston v/hich have not been pre- 
served, but it is probable that Jonson does not limit his ridicule to 
words of Marston or Dekker, but includes those of other writers of 
the time. 

Mr. H. C. Hart (in Notes and ^eries, 9th series, nos. 272, 
276, 279, 287, 296, 301, 305, 308, 312, loth series, no. 20) 
has identified "Judicial Torquatus " of Mzrstons Scourge of F'tllanie 
and Juniper in Jonson's The Case is Altered as Gabriel Harvey, on 
the basis of vocabulary. Harvey's words are ridiculed also in the lan- 
guage of Puntarvolo, Fastidious Brisk, Clove and Orange in E-very 
Man out of His Humour and Amorphus in Cynthia' s Re'vels. Nashe 
(Ed. Grosart, 2, 184) calls Harvey a " mountebancke of strange 
words." The facts which Mr. Hart adduces, taken with Jonson's 
attitude of censorship in literary matters, make it likely that he used 
his characters at times to typify groups of his contemporaries, as well 
as individuals. We must not suppose that the only basis for Jonson's 
criticism consisted of writings of his contemporaries of which we 
now have printed copies. Much that they wrote was circulated in 
manuscript or read at the taverns. Dr. Small, Stage parrel, p. 108, 
states his opinion that Marston rewrote What you ivill omitting 
words ridiculed by Jonson, but not now found in Marston's 
works. 



252 ipotesf 

151,301. lubricall and glibberie. "Lubricall," mean- 
ing "slippery " or "wanton," is not found in Marston nor is 
"defunct," 1. 302. " Glibberie," meaning " slippery," occurs in 
I Ant. and Meliida, I, I; li, I; iv, I; and Jack Drum, i, i. 

^S^j 3°5- cothurnall buskins. " Cothumal buskins is 
parodied from an absurd expression in II Antonio and Alellida, 11, 5. 
• O now tragoedia cothurnata mounts ! ' " Gifford. The cothurnus 
was tlie boot worn by tragic actors. 

^5I» 3°^- thy incubus. An expression used by Marston. Cf. 
// Ant. and Mellida, i, I, and iv, 4. "Incubus" means night- 
mare. 

^S^i 3°^- poetize. Jonson evidently intended to ridicule the 
forming of words by adding "ize." Cf. the fustian of Clove in 
E'very Man out of His Humour^ in, 4. 

I5I> 3°7- Snotteries. Cf. Scourge of m/anie, Sat. II, 7I. 
"To purge the snottery of our slimic time." " Snottery " means 
filthiness. 

15 1 > 3°^- barmy froth. A phrase often used by Marston: 
cf. Scourge of Villanie. In Lectores, also To those that seeme judi- 
cial! Perusers. Also Sat. vi, 2, and Jack Drum, I, 34. (Simp- 
son, School of Shakspere, 11, p. 136.) 

151,310. clumsie, chil-blain'd judgement. Ci. Jack 

Drum, n, 136-8 (Simpson, School of Shakspere, 11, p. I 56). 

I5i> 310-11. with oath, magnificates his merit. This 
may be a reference to the closing lines of the Epilogue of Cyn- 
thia' s Re-vels " By — 'tis good, and if you like 't you may." Cf. 
also. Scourge of Villanie, Proemium in Librum Secundum, " I can- 
not with swolne lines magnifcate mine owne poor worth." Mars- 
ton uses the word in a number of passages. 

151, 311. bespawles. Cf. Jack Drum, i, 302. (Simpson, 
School of Shakspere, 11, p. 146.) " As to bespaivle the pleasures of 
the world." " Bespawle " means to spit upon. 

151, 312. conscious. Cf. Scourge of Villanie, Sat. 8, 95, 
" conscious of strange villanie " J What you ivill {1601) i, 1, "con- 
scious of my love." 

151, 312. humorous fome. A reference to Jonson' s plays, 
perhaps, or a reference to the absurd " patheticall and unvulgar " 
verse made by Balurdo " in an humorous passion ' ' in II Antonio and 



il^ocfsf 253 

^f^da I 4 «. Respective," a word ridiculed by Jonson in Ca,e 
ts Altered (i, i) ,s ridiculed by Balurdo in the same passage 

^A\\i^j^' ^^ strenuous ... the fist. Cf. II Antonio 
and Mellida, v, i. ^^ The fst of strenuous -vengeance is clutch'' • 

strenuous occurs in /^«ro«o a«^ M./Z/^a, Induction, ^^ stren- 
uous spirits The verb '< clutch ' ' occurs in // Antonio and Mel- 
lida{i, I,), '* all the earth is clutch' d in the dull leaden hand of 
snoring sleep, and the noun '' clutch" {Ibid, in, i,) in '' ven- 
geance with unpaized clutch." Cunningham notes that Jonson divides 
the word "vengeance" and that each time Marston uses it he 
makes it a trisyllable. 

151,317. Cris[pinus]. The quarto adds ** alias Innocence." 
J>ee 119, 34. " He wnte nothing in it but innocence "• etc 

152, 323. prodig:all tongue. InSi, 387-9. Histrio' called 
Demetnus-Dekker an ''over-flowing ranke " wit, who would 

slander any man that breathes, if he disgust him." 
• /^?^?.^~^' *^' "°*^»SSing a poet. A reference to the 
title of Dekker s play, Satiromastix or The Untrussing of the Humor- 
ous Poet. See 119, 32. -^ 

152, 327. bescumbers. Set Scourge of Villanie, Sat. 0, ,4. 
" with much pit Esculine filth bescumbers:' 

152, 328, satyricall humours. A referenee to the titles 
of Jonson s plays which he called Comicall Satyres, viz. : E-very Man 
out of His Humour and Cynthia's Re-vels. E-very Man in His Humour 
was called simply A Comedy. 

^52, 328. lyricall numbers. This may refer to Tonson's 
poems of which Dekker speaks in Satiromastix, 284, 106 • 764 
270. Cf also the songs in Jonson's early plays. ' o ^» 

152, 334- translator. In Cynthia's Re-vels, iii, 2, Anaides 
says that he will " give out all he [Crites-Jonson] does is dictated from 
other men . . . and that I know the time and place where he 
stole It." This was evidently a common charge against Tonson and 
others. See Lodge's f^its Miserie, quoted in the Introduction, p xlii 

152,336-7. I understand . . . whole. As Gifford said: 

Ihis could in no sense be said of Marston who had received an 
Umversity education." Jonson evidently did not regard Marston as 
a Greek scholar, however, for Virgil tells Crispinus, 162, c8o. 

Use to rcade (But not without a tutor) the best Greekes " 



254 ^^^^^ 

152, 342-153, 360. And why . . . of these. As noted 

bv Giffbrd this is based on Horace, ^a(. 1, 4, 78-85. 
" 152, 343. thou motley gull: i.e. Tucca. The Jesters wore 
"motley," or clothing of several colors. The term came to be 
used for " fool." Gull was the common word for simpleton, fool- 
ish person. 

152,344. wrong, or taxe a friend. Dekker did not for- 
get this. See Satirommiix, 29 1, 284. 

153, 360- black slaves . . . these. Hie niger at, hunc 

lu. Romarie, cai'eto. Horace, Sat. I, 4, 85. 

153, 362. chap-falne curres. "With the chap or lower 
jaw hanging down, as an effect of extreme exhaustion or debility, 
of a wound received, or esp. of death. " N. E. D. 

153, 3^3- <^0 the "^^e- ^^^ ^°^" °^ *^* j"*^^" ^"* ^^' 
posited in an urn. • a • .» 

154, 385- erection. The contrast is between "inflation, 
which is another name for puffed up conceit, and " erection," which 
is exaltation of mind or spirit, which is justified. 

155, 39°- suffering vertue. Cf. Satiromastix, 386, 231, 
where Dekker seems to reply to these lines. 

155.391- licenceof the time: i.e. freedom from restraint, 
cf. "licentious," 1 6, 61. 

155, 39^- ierking pedants. Thrashing schoolmasten. Icrke 
= to lash. See S^tiromauix, 328, 348. A pedant is a school- 
master, not simply a scholar. 

I55> 393- players, Jonson seems to lose no chance to ridicule 
mere "'players " whom he here classes with fools and buffoons. Sit- 
ting beside Carlo Buffon {E-very Man out of His Humour), is 
spoken of as a special punishment for Horacc-Jonson in Satiromastix^ 
302, 386. 

155,395- in their despight. "Their" refers, probably 
to the "barking wits," and not to the "vulgar eares," although 
the latter is possible: " their pride" (396)> undoubtedly refers to the 
"barking wits." 

IS5, 405- generous. This refers both to the gentle birth and 
to the moral qualities of Crispinus. 

155,407. case of vizards. Pair of masks. See 158, 460, 
note. 



il^oce0 255 

155,411-12. bastinado a man's eares. The bastone, 

or bastinado, was a beating with a stick, as in Turkey, on the soles 
of the feet. The term was quite generally used in Jonson's time, and 
since, for a beating, 

156, 413. pills. Dekker noted the fact that this scene is based 
on the Lexiphanes of Lucian when in Satiromastix, 349, 132, he 
called Horace-Jonson " Lucian," and 386, 233, wrote "orshould 
we minister strong pilles to thee! " The scene in Lucian is followed 
rather closely by Jonson. Sopolis and Lycinus give an emetic to Lexi- 
phanes, which causes him to disgorge various words of his vocabulary, 
which were not approved by the critics. In a speech, similar to that 
of Virgil to Crispinus, Lycinus gives Lexiphanes advice. 

156, 414. whitest kind of ellebore. Hellebore is a plant 
used by the ancients as a remedy for mental diseases. The best kind, 
white, came from Anticyra. Cf. Horace, Sat. 11, 3, 77-83. 

156, 416. tumorous heates. Cf Horace, Sat. n, 3, 80, 
alio mentis morbo calet. 

156, 424. stand by. "Stand aside," as an actor not taking 
part, and also " wait for the effect of the pills." 

156, 427. accused at the barre. Cf Satiromastix , 386, 
227, where Dekker refers to this scene : " Should I but bid thy 
muse stand to the Barre^'"'' etc. and, 267, 15, "Horace hal'd his 
Poetasters to the Barre." 

157, 441. by this hand-writing : i.e. the "writ," 150, 
288, which Crispinus and Demetrius had acknowledged to be theirs. 

157, 444. parcell-guiltie. Guilty in part. 

157, 446. suborn'd us to the calumnie. See 75, 230-5, 
where Tucca objects to being "presented" by Histrio's company, 
Histrio denies that his company is to do thisj but in 80, 368, says 
that they have hir'd Demetrius to satirize Horace. Tucca did not 
originate the attack on Jonson, but in Satiromastix Dekker makes 
him the chief accuser. 

157, 447. Cantharides. The cantharis, or Spanish fly, was 
used in medicine to make an external irritant, or an internal sexual 
stimulant. The word is used here as a term of contempt, referring 
to the blistering qualites of the statement of Demetrius. " You blist- 
erer of my reputation." Nicholson. 

158, 460-1. case of vizards . . . bi-fronted. A pair 



256 Jliotrs; 

of masks so arranged that the wearer had a face behind as well as in 
front. Cf. Marston, Satyrcs, I, 4, '* Ye visarded-bitronted Jaman 



rout 



158. 4^7- Harpies. Monsters in classical mythology, which 
dwelt on the Strophades Islands. The quarto reads GorboducUs, rc- 
ferring to the old play Gorboduc, by Norton and Sackvillc (1560) 
based on the story in Geoffrey of Monmouth's History oj Britain 
(Bk. II, chap. XVI). ,r r^ r, • 

158, 470-1. couple . . . cargos. N. E D g.ves 

♦« cargo," obs. [Sp. cargo, carga, burden, load, weight, bundle, 
fardle, truss, etc.] A contemptuous term. 

158 477 no great cause, not I. Dekkcr had, the editor 
believes, little part in the attack on Jonson, and had not, previous 
to Poetaster, been assailed by Jonson in any play. He was a ready 
writer, in sympathy with the players, against whom Jonson had set 
himself, and in response to their request, and for the money which 
he would receive, he introduced the Horace episodes m a play about 
Sir Walter Terill. The few lines of and about Demetrius can be 
removed from Poetaster, of which fhey form no important part, 
without affecting the play in any way as a satire on Cnspinus-Mar- 
ston. See Introduction, p. Ix. It will be noticed that Cnspinus- 
Marston whom Jonson had probably attacked in earlier plays (see 
Introduction) is not made to say that he had no cause for mahgning 

Horace-Tonson. . . ,, * r>-ar j 

159, 485-92. If this . . . spight them. As Gifford 

noted, from Horace, Sat. i, 10, 78-90. _ 

mo 487. best-best. The adjective is doubled for emphasis. 
159; 498-162, 562. retrograde . . . custard. The folio 
and quarto differ in the words disgorged by Cnspinus. The follow- 
ing words are not found in Marston: retrograde, reciprocall, lubncall, 
defunct, spurious, inflate, turgidous, ventositous, oblatrant, funbund, 
fatuate, prorumped, obstupefact, obcaecate, Tropologicall, anagogi- 
cal, loquacity, pinnositv. The following are found in Marston as 
indicated: incubus, II Ant. and Me!/ida,J, i; iv, a: glibbery, y^c* 
Drum I, 127: I Ant. and Mellida, I; n, I; iv, i : magnificate, 
Sat. II, 66: Scourge of Villavie, Proem, Bk. 11; m, ^^^• snot- 
teries, Scourge of Villanie, 11, 1\: chilblaind, Jack Drum, il 136: 
clumsie, Jack Drum, 11, 136 ; II Ant. and Mellida, Prol. l: barmy 



jpote0 257 

froth, Scourge of Villanie^ In Lect. 8; To Perusers; vi, 2; Jack 
Druniy I, 35: puffy, Pygmalion^ Author in Praise, 23; Sat. 11, 139; 
Scourge of Villanie^ In Lect. 42; iv, 55: strenuous, I Ant. and 
Mellidaj Ind. 36 j // Ant. and Mellida, v, i: conscious, Scourge 
of Villanie^ viii, 94; What you Will, i, I, 1 14: dampe. Scourge 
of Villanie^vn^ I 83: clutcht, II Ant. and Mellida, I, Ij III, I; v, 
I : snarling gusts, // Ant. and Mellida, Prol. 4 : quaking custard, 
Scourge of Villanie, 11, 4. The fact that some of the words disgorged 
by Crispinus-Marston do not occur in Marston's works as we have 
them caused Dr. Small (^The Stage Shiarrel, p. 1 10) to offer as an 
explanation that What you Will (1601), which contains but one of 
the words "conscious," *' was rewritten by Marston " in conse- 
quence of Jonson's criticism. That What you Will is comparatively 
free from the unusual words so commonly used by Marston is true, 
but it is not true that the absence of such words is necessarily proof 
that Marston had used them, but in revising his play omitted them, 
for that is to imply that Jonson ridiculed in the words of Crispinus 
no vocabulary but that of Marston. Examples of ridicule are found in 
Cynthia's Rc'vels^ v, 3 and v, 4, where "retrograde" is used, as 
affected language. *' Arride " is used similarly in in, 5, and iv, 3, by 
Amorphus. " Connive," a word used by Moria iv, 2, is ridiculed 
by Dekker in Satiromastix, 3 12, 23. Words of Gabriel Harvey 
are ridiculed in The Case is Altered, for a list of which, see Mr. 
H. C. Hart's article in Notes and ^eries, 9th Ser., xii, no. 296, 
p. 161. (See Introduction, p. xxvi.) The criticisms of vocabulary 
are not peculiar to Poetaster, but are part of the general literary 
criticism of the time. In As You Like It Shakespeare ridiculed the 
language of the courtiers, and in Cynthia's Re-vels, 11, 4, Jonson 
wrote "She [Moria] is like one of your ignorant poetasters of the 
time, who, when they have got acquainted with a strange word, 
etc." In the Prologue to E-very Man in His Humour he mentions 
the " help of some few foot and half-foot words." In E'very Man 
out of His Humour, we have Clove and Orange introduced to talk 
fustian in a manner similar to that of Stilpo and Speusippus in the 
old Tim on. The criticism of words was not peculiar to Jonson. Mar- 
ston had criticised the " new-minted epithets (as reall, intrinsecate, 
Delphicke) " of " judiciallTorquatus," probably Gabriel Harvey (as 
shown by Mr. H. C. Hart, Notes and ^eries, 9th Ser., xi, no. 



258 il^otesf 

276, p. 281) who had himself in The Trimming of Thomas Nashe 
(cd. Grosart, 3, 6,) " fetcht from the mint some few new words," 
and who charged Nashe [Har-vey^ ed. Grosart 2, 275) with using 
extraordinary words. Thomas Nashe, Harvey's antagonist, uses two 
of the words in Jonson's list which are not found in Marston, 
ventosity (quarto), and Tropologicall (quarto). 

161, 539-40. -what a tumult. This expression, and several 
others immediately following, *' Force yourselfe then, a little with 
your finger," "What a noise it made!" etc. are almost literal 
translations of lines in the Lexiphanes of Lucian. 

162, 568-163, 602. These pills . . . affright. **The 
whole of this speech, mutatis mutandis^ is taken from the very ex- 
cellent advice which Lycinus gives to Lexiphanes." Gifford. 

163, 590. Gallo-belgick phrase. "This alludes to the 
Latinity of this celebrated political ' Register ' as Mr. Chalmers 
aptly terms it." Gifford. The Mercurius Gallo-Btlgicus was es- 
tablished at Cologne, and was published at intervals from 1588 to 
1630. See catalogue of Printed Books in Brit. Mus. s. v. "Period- 
ical Publications, Cologne." 

164, 608. branded in the front. See note 147, 188-9. 
See also Satiromastix, 285* ^4i-^> note, for an account of Jonson's 
having been branded T on the thumb for killing Gabriel Spencer in 
a duel. 

164, 614. coates and cap. See Satiromastix, 365, 309. 
The coat and cap of a fool are put on Demetrius-Dekker. 

164, 623-165, 649. Rufus . . . Caesar. A similar oath 
is administered to Horace in Satiromastix, 389, 326. 

164, 626. Booke-sellers stalls. They were a favorite 
meeting place. See Satiromastix, 39 1, 359- 

164, 627. 'tyring houses. The dressing-rooms at the 
theatres. 

165, 628. buttries, puisne's chambers. See 79, 352, 
note. This does not, as Gifford implied, refer to Crispinus and Deme- 
trius as players, which they were not, but, as Dr. Mallory states, to 
their personal characters, which barred them from places to which 
Jonson had access. This is made clearer in 1. 636, " better acquaint- 
ance." 

165, 641. gent. An early use of this abbreviation. 



jpotefif 259 

165, 643-4, untrussers, or whippers. To untruss was 

to untie the points or lacings and let down the breeches. " Untrussers 
or whippers " refers probably to the title of Satiromasttx or the Un- 
trussing of the Humorous Poet. There may be a reference to Mar- 
ston's Scourge of Villanie. In E'very Man out of His Humour^ Carlo 
is called " Thou Grand Scourge, or Second Untruss of the Time." 
In spite of Aubrey's statement that Carlo was Charles Chester (see 
Introduction, pp. xix-xxi), Carlo may have been Marston. 

165, 644. itch of writing. Cf. Satiromastix, 385, 218, 
" Itchy Poetry." 

166, 666-7. asses eares . . . woolvish case. A re- 
ference not only to the fable of the ass in the lion's skin, but also 
to Lupus the "wolf" upon whom (145, 142.,) had been placed 
" larger eares." 

166, 671. Rumpatur . . . invidia. Marthl, Sat. 9,97, 

12. If any one is bursting with envy, let him burst. 

167, 3. apologeticall Dialogue. This is probably the 
** Apology from the Author " mentioned in the quarto " To the 
Reader" (p. 167, footnote ), from the publishing of which Jonson 
was restrained " by Authoritie," in consequence of the legal diffi- 
culties referred to in the folio in the address to Mr. Richard Martin 

(p. 3). 

167, 13-14. non . . . tnorum. Not the white hairs of years 
but those of character deserve to be praised. 

168, 2. Nasutus, Polyposus. On the title-page of Cyn- 
thia s Re'vel s ]on^or\ placed '* Mart. [12, 37] Nasutum -volo, nolo 
Polyposum.'''' Nasutus in the Apol. Dia. sides with the author while 
Polyposus states the criticisms of the play. 

169, 32. barking students, i.e. The dogs used in bear- 
baiting at the Bear Garden, which was on the Bankside. See Satiro- 
mastix, 295, 387, note. In Epigram 133 Jonson mentions *'The 
meat-boat out of bears-college." "College" in an old meaning 
was another word for community, or association. The Marshalsea 
was " the College " and the prisoners *' collegians " in Little Dorrit. 

170, 40. Teucers — archery. Iliad, 12, 350. Teu/cpos . . . 
tS^ojv e?} el8u}S. He was the best archer among the Greeks against 
Troy. 

170, 54. Improbior . . . cinaedo. Juvenal, Sat. 4, 



26o ipote0 

1 06. Wickeder than a Sodomite writing satire. Juvenars allusion 
is to Nero's satire on Quintianus. See Tacitus, Ann. xv. 49. 

170* 55- turne stone with wonder. The sight of the 
Gorgon Medusa turned the beholder to stone. 

171, 63. Salt. See also 1. 173. A classicism commonly used, 
meaning wittiness, sharpness, sarcasm. 

171, 66. be perverted. See 145, 153-7. 

171,69. Law and Lawyers. See 19, 134-152, a passage 
which might well have been regarded as ridicule of lawyers. See 
also Satiromastix, 362, 227-31, and Jonson's Epigrams, 37, On 
Chc'veril The Laivyer, and 54, On Chei'eril : 

Cheveril cries out my verses libels are : 
And threatens the Star-Chamber and the Bar. 
"What are thy petulant pleadings, Cheveril, then, 
That quit'st the cause so oft, and rail'st at men. 

171,69. Captaines. See the character of Tucca throughout 
the play. Cf. Jonson's Epigrams, 12, 82, 87, 107. See also Cap- 
tain Bobadil in E'very Man in His Humour, Shift, in E'very Man 
out of His Humour. 

171, 69. the Players. See 15, 42-16, 65; 71, 140-72, 
161; and 78, 315-80, 358. 

171, 72. To spare . . . vices. Parcere personis, dtcerede 
vitiis, Martial, 10, 33, 10. See 89, 134, and the second Prologue 
to Epicoene. ** So persons were not touch'd, to tax the crimes." 

172,83-5. three yeeres . . . every stage. See Intro- 
duction, p. xvi, also the table, p. xxix. *' Petulant stiles," a phrase 
used again in the Dedication of Volpone, 1607, refers probably to 
rhetoric, vocabulary, dramatic construction etc. employed by *' poe- 
tasters " in general, as well as to specific attacks on Jonson by his 
detractors. "Every stage" may or may not be intended literally 
but, as a matter of fact, nearly every theatre in London seems to 
have been involved in the " war." 

172, 100. screaming grasse-hoppers. Cf. Virgil, Ed. 

2, 12-13, ^"'^ Georgics, 3, 328. 

i73» 107-108. sape . . . opes. 

Renounce this thriftless trade, my father cried: 
Maeonides himself — a beggar died. GifFord. 



jpote0 261 

173, iio-iii. non , . . foro. 

To learn the wrangling law was ne'er my choice, 

Nor, at the hateful bar, to sell my voice. Giffbrd. 

173, 117. Unto true Souldiers. This appears among Jon- 
son's Epigrams ^s T08. Epigram 107 is To Captain Hungry, Whal- 
ley thought that Jonson wrote Unto True Soldiers as a " compen- 
sation for the character of Captain Tucca in that play." GiflFord 
thought that it had been written before Poetaster and ** that it 
alluded to the Captain " in 107. It might have been cither. See 
note, 171, 69. Jonson's Epigrams are referred to by Dekker in 
SatiromastiXy 327, 33°- 

I73> ^^7- That's the lemma. The title of an Epigram, in- 
dicating the subject. Cf. Martial, 14, 2. Ut si malueris lemmata 
sola legas. 

'^iZi 1^3- I once did prove. See 119, 21, note. This is 
a reference to Jonson's service in the Low Countries. 

I74> ^5- gave 'hem meat. See 80, 374, note. 

174, 141. the untrussers. A reference to Hatiromastix as 
well as to Crispinus-Marston and Demetrius-Dekker. 

174, 146-7. squirt . . . inke. Cf. SatiromastiXy 348, 102, 
"'tis thy fashion to flirt Inke " etc. 

175, 148-9. Archilochus fury . . . hang themselves. 

Archilochus wrote such severe verses that he caused Lycambes to 
hang himself. See Horace, Ep. i, 19, 23-5. 

175, 150. Irish rats. Gifford quotes As You Like It, III, 2, 
188. "I was never so be-rhimed since Pythagoras' time, that I 
was an Irish rat." Dr. Furness notes: "See Spenser's Faerie ^eency 
I, ix [' as he were charmed with enchaunted rimes']. In Ran- 
dolph's Jealous Lovers, v, ii, there is an image much like this: 
' A'zotus. And my poets shall with a satire steep'd in gall and vine- 
gar Rithme 'em to death, as they do rats in Ireland.' " 

^75) iSi-^ stampe Their foreheads. Cf. The Dedica- 
tion of Volpone: " not Cinnamus the barber . . . shall be able to 
take out the brands " Gifford refers to Volpone and says "This 
sentiment ... is from Martial, 6, 6." 

175* 159- tabacco. See Satiromastix, 282, 49, note. 

175, 161-66. But, . . . man. As Gifford notes, from Juve- 
nal, Sat. 13, 193-5. 



262 jpOtf0 

176, 168. the treasure of the foole: i.e. "their tongues.'* 

176, 172. rayling. Cf ^atiromastix^ 361, 196 and 387, 
256. Also Folpone, Dedication, where Jonson seems to refer to the 
charge of " railing " made by his enemies. 

176, 181. a play a yeere. See Satiromasdx, 385, 216-17. 

176, 186. colts-foote. A plant, named from the shape of 
the leaves, used in making an expectorant. 

177, 188-9 master of art . . . Their belly. Gifford 

quotes Persius, Fro/. 10, as the source: Magister artts, wgenique 
largitor 'venter. 

I77» 197-8- To . . . fire. Cf. Juvenal Sat. 7, 27, Frange 
miser calamos 'vigilatajue prcelia dele. Gifford noted the borrowing 
from Juvenal, Sat. 7, in the closing portions of the Apologeticall 
Dialogue. 

177,200. candle saw his pinching throes. Cf. Satiro- 
mastix, p. 280, stage direction, "Horace ... a candle by him 
burning." In C\'nthia\ Rc'vels 3, 2, Crites-Jonson is said to smell 
"all lamp-oil with studying by candle light." 

177, 206-8. Ibides . . . entrailes. "Pliny says this 
of the ibis, bk. 8, c. 41." Nicholson. 

178, 212. my next. .S'<r/^««i, produced in 1603 by the Cham- 
berlain's Company at the Globe Theatre. 

178, 213-15. Where . . . Theatre unto me. "Jon- 
son's words are little more than a translation from Cicero. . . . 
Haec c^o non multis, sed tibi satis magnum alter a/ten theatrum 
sumus.'' Gifford. 

178, 215. Once, I'll say. Once for all I will try. Say = 
essay. 

178,220-3. I, that . . . grace. See 177, 197, and 177, 
200, notes. From Juvenal, Sat. 7, 27-30. 

178, 221. darke, pale face. "This exactly corresponds 
with the appearance of Jonson in the Hardwicke portrait, and as un- 
like as may be to the * parboiled face full of pocky holes and pimples,' 
' the face punched full of oylet holes like the cover of a warming 
pan,' and 'the most ungodly face, like a rotten russet apple when 
'tis bruised,' of Satiromastix. Aubrey also says that 'he was (or 
rather had been) of a clear and faire skin.' " Cunningham. Tucca 
called Horace- Jonson "copper fact" and " saffron-cheeke sun- 



jl^otesf 263 

burnt Gipsie " in Satiromastix, so it is evident that Jonson was of 
dark complexion In the lines on My Picture Left in Scotland Jon- 
son speaks of his *' mountain belly " and '* rocky face." He is 
spoken of by Tucca in Satiromastix as a '*leane . , . hoUow- 
cheekt scrag," but this was in 1601. The visit to Scotland was 
in 1619. 

179. The Principall Comoedians, For an account of 

the Chapel Children see TAe Children of the Chapel at Blackfriarsy 
C. W. Wallace, University Studies, University of Nebraska, Vol. 
viii, Nos. 2 and 3, The plays of this company contain numerous 
songs and some of the *• children " were good singers, having been 
originally the choir of the Chapel Royal. Jonson mentions only the 
" Principall Comoedians" omitting the names of the large number 
necessary to present the play. Nat. Field (b. 1587, d. 1633) is men- 
tioned by Jonson (Con-versations, p. ii) as **his schoUar." He 
became a famous actor being connected with several companies at 
different times. He was also a dramatist. ( See Schelling, Elizabethan 
Drama, index s. v. Field.) Salathiel Pavy is known to us through 
Jonson's Epitaph (no. 120) on him. He was famous for old men's 
parts. Ostler, Field and Underwood appear in the list of "Princi- 
pall Actors " in the first folio (1623) of Shakespeare. See D. N. 
B. We know nothing further of Tho. Day and Tho. Marton. 

179. the Master of Revells. Edmund Tilney held this 
office from 1579 to 1608. Dekker intimates that Jonson desired the 
office. (See 5ar/>owai^/>, 343, 246-9.) <' The establishment of 
a permanent Master of the Revels, in 1545, by no means abolished 
the Lord of Misrule," *< variously known as the Christmas Lord, 
or the Lord Abbot of Misrule." (Schelling, Elizabethan Drama, i, 
76.) 



THE TEXT 

There is only one text of Satiromastix, the quarto, 1602, As is 
the case with many Elizabethan books, different copies of what are 
supposedly the same edition differ, sometimes slightly, sometimes 
considerably, in readings and punctuation. The editor has collated 
two copies of the quarto in the library of the British Museum and 
one in the Bodleian. Dr. Scherer, in his edition of the play, gives 
the results of his collation of the same copies of the quarto and 
of a fourth in the Dycc collection. As the quarto was carelessly 
printed, an attempt is made here to give a correct text, changes 
being indicated in the footnotes. Obvious misprints are silently cor- 
rected and the punctuation modernized. The divisions into acts 
and scenes, omitted from the quarto, are here supplied. 



Satiro^^maftix. 

O R 

The mtrujjing of the Humo^ 
rous Poet« 

zAs it hath bin prefented puhlikelj, 
bytheRightHonorablc, the Lord Cham- 

bctlaine his Seruantsj and priuately,by the 
ChddrcnofPauIes. 

By ThomasDeJ^r. 




LONDON, 

Printed ^ox EiwArd White ^ and are to fcee 

lbIdcachisfhop,neeretheIi£tleNorthdooreofPauIes 
Churcb^actberigcieoftheGuQ. 1602. 



DRAMATIS PERSON.^. 



I. 


William Rufus. 


2. 


Sir Walter Terill. 


3- 


Sir Rees ap Vaughan. _ 


4- 


S. Quintilian Shorthose. 


5. 


Sir Adam Prickshaft. 


6. 


Blunt. 


7- 


Crispinus. 


8. 


Demetrius Fannius. 


9- 


Tucca. 


lO. 


Horace. 


II. 


Asinius Bubo. 


12. 


Peter Flash. 


13- 


Caelestine. 


14. 


Mistris Miniver. 


15- 


Ladies. 




[Petula, Dicache, and Philocalia.] 



Ad Detractorem. 
Non potes in Nugas dicere plura meaSy 
Ipse ego quam dixi. — ^i se mirantury in illos 
Virus habe : Nos hac no'vimus esse nihil. 



TO THE WORLD, 

World, / was once resolv'd to bee round with 
thee^ because I know tis thy fashion to bee round with 
every bodie ; but the winde shifting his pointy the 
Veine turnd: yet because thou wilt sit as judge 
of all matters (though for thy labour thou wear'st 5 
Midasses eares^ and art Monstrum horrendum, 
informe, ingens, cui lumen ademptum, whose 
great Poliphemian eye is put out) I care not much 
if I make description {before thy Universality) of 
thatterrible?ottom2ich\2i lately commenced betweene ,0 
Horace the second and a band of leane-witted 
Poetasters. They have bin at high wordes^ and 
so highy that the ground could not serve them^ but 
{for want of chopins) have stalk' t upon Stages. 

Horace haPd his Poetasters to the barre^ the 15 
Poetasters untruss'd Horace : how worthily eyther^ 
or how wrongfully^ (World) leave it to the jurie\ 
Horace [questionles) made himself beleeve^ that 
his Burgonian wit might desperately challenge all 
commers^ and that none durst take up the foyles %o 
against him. It's likely^ if he had not so beleiv'd^ 
he had not bin so deceiv'd^for hee was answered at 
his owne weapon ; and if before Apollo himselfe 
(who is Coronator Poetarum) an inquisition 



268 tCo t\)t OTorlu 

shouU be taken touching this lamentable merry mur- 25 
dering of Innocent Poetry, all Mount Helicon ^^ 
Bun-hill, /■/ would be found on the Poetasters side 
se defendendo. Notwithstanding, the Doctors 
thinke otherwise. I meete one and he runnes full 
butt at me with his satires homes, for that in un- 30 
trussing Horace I did onely whip his fortunes and 
condition of life, where the more noble reprehen- 
sion had bin of his mindes deformitie, whose 
greatnes, if his criticall lynx had xvith as narrow 
eyes observed in himself e, as it did little spots upon 35 
others, without all disputation, Horace would not 
have left Horace out 0/ Every man in's Humour. 
His fortunes? why does not he taxe that onely in 
others F Read his Arraignement and see. J second 
cat-a-mountaine mewes and calles me barren, be- 40 
cause my braines could bring forth no other stig- 
maticke than Tucca, whome Horace had put to 
making, and begot to my hand ; but I wonder what 
language Tucca would have spoke, if honest Capten 
Hannam had bin borne without a tongue? 1st not 45 
as lawfull then for mee to imitate Horace, as 
Horace Hannam? Besides, if 1 had made an op- 
position of any other new-minted fellow, {of what 
test so ever) hee had bin out-fac d and out-weyed 
by a settled former approbation ; neyther was it much 50 
improper to set the same dog upon Horace, whom 
Horace had set to worrie others. 



tlTo ti)t OTorltJ 269 

/ cou/ci heere {eeven with the feather of my pen) 
wipe off other ridiculous imputations^ hut my best 
way to answer them^ is to laugh at them: onely 55 
thus much I protest {and sweare by the divinest 
part of true Poesie^ that (howsoever the limmes of 
my naked lines may bee^ and I know have bin^ tor- 
turd on the racke) they are free from conspiring 
the least disgrace to any man^ but onely to our new 60 
Horace ; neyther should this ghost of Tucca have 
walkt up and downe Poules Church-yard^ but that 
bee was raized up {in print") by newe exorclsmes. 
World, if thy Hugenes will beleive this^ doe ; if 
not^ I care not^ for I dedicate my booke^ not to thy 65 
Greatnes, but to the Greatnes of thy scornQ^defying 
which^ let that mad dog Detraction bite till his teeth 
bee worne to the stumps, Y^nwyfeede thy snakes so fat 
with poyson till they burst. World, let all thy adders 
shoote out their Hidra-headed-forked stinges. Ha, 70 
Ha, Nauci; if none will take my part^ (as I desire 
none) yet I thanke thee (thou true Venusian Hor- 
2iQ.€) for these good wordes thou giv* st me : Populus 
me sibylat at mihi plaudo. V<f ox\^ fareivell. 



Malim Convivis quam placuisse Cocis. 



AD LECTOREM. 

In steed of the trumpets sounding thrice, be- 
fore the play begin, it shall not be amisse (for 
him that will read) first to beholde this short 
Comedy of Errors, and where the greatest enter, 
to give them in stead of a hisse, a gentle correc- 5 
tion. 
In Letter C. Page i, for. Whom I adorn'd as 

subjects : Read, Whom I ador'd as, &c. 
In Letter C. Pa. 3, for. He starte thence poore: 

Read, He starve their poore, &c. 10 

In Letter C. Pa. 6, for, her white cheekes with 

her dregs andbottome: Read, her white cheekes 

with the dregs and. Sec. 
In the same Page, for. Strike off the head of Sin : 

Read, Strike off the swolne head, &c. iS 

In the same Page, for, that of five hundred, 

foure hundred five : Read, that of five hundred, 

foure. 
In Letter G. pa. i, for, this enterchanging of 

languages : Read, this enterchange of language. 20 
In Letter L. pa. 5, for. And stinging insolence 

should : Read, And stinking insolence, &c. 



Cl^e antmjsisfns of t))t i^umor^ 
oujS pott 

[Act I, Scene I. 

A Room in the House of Sir ^intilian Shorthose."] 
I Enter two Gentlewomen strewing ofjiowers. 

1st Gentlewoman. Come, bedfellow, come, 
strew apace, strew, strew; in good troth tis pitty 
that these flowers must be trodden under feete as 
they are like to bee anon. 

2d Gentlewoman. Pitty, alacke, pretty heart, 
thou art sorry to see any good thing fall to the 
ground ; pitty ? no more pitty then to see an 
innocent mayden-head delivered up to the ruffling 
of her new-wedded husband. Beauty is made 
for use, and hee that will not use a sweete soule 
well, when she is under his fingers, I pray Venus 
he may never kisse a faire and a delicate, soft, 
red, plump-lip. 

1st Gent. Amen, and that's torment enough. 

2d Gent. Pitty ? come, foole, fling them about 
lustily ; flowers never dye a sweeter death than 
when they are smoother'd to death in a lovers 



272 tCtie <!Hntru00ing of iact i. 

bosome, or else pave the high wayes, over which 
these pretty, simpring, jetting things, call'd 
brides, must trippe. lo 

jst Gent. I pray thee tell mee, why doe they 
use at weddings to furnish all places thus with 
sweet hearbes and flowers ? 

2d Gent. One reason is, because tis 

6 a most sweet thing to lye with a man. ^5 

1st Gent. I thinke tis a O more more more 
more sweet to lye with a woman. 

2d Gent. I warrant all men are of thy minde. 
Another reason is, because they sticke like the 
scutchions of madame chastity on the sable 3° 
ground, weeping in their stalkes, and wincking 
with theyr yellow-sunke eyes, as loath to beholde 
the lamentable fall of a maydenhead. What 
senceles thing in all the house, that is not nowe 
as melancholy as a new set-up schoolemaster ? 35 

1st Gent. Troth, I am. 

2d Gent. Troth, I thinke thou mournst, be- 
cause th'ast mist thy turne, I doe by the quiver 
of Cupid. You see the torches melt themselves 
away in teares, the instruments weare theyr heart 40 
stringes out for sorrow, and the silver ewers 
weepe most pittifuU rosewater ; five or sixe 
payre of the white innocent wedding gloves did 
in my sight choose rather to be torne in peeces 
than to be drawne on ; and looke this rosemary, 45 



Scene!.] ©^C J^UUlOrOUSf ^Ott 273 

(a fatall hearbe) this deadmans nose-gay, has 
crept in amongst these flowers to decke th' in- 
visible coarse of the brides maydenhead, when 
(oh how much do we poore wenches suffer) 
about eleven, or twelve, or one a clock at mid- 50 
night at furthest, it descends to purgatory, to 
give notice that Caelestine (hey ho) will never 
come to lead apes in hell. 

1st Gent, I see by thy sighing thou wilt not. 

2d Gent. If I had as many may den-heads 55 
as I have hayres on my head, Ide venture them 
all rather then to come into so hot a place. 
Prethy strew thou, for my little armes are weary. 

1st Gent. I am sure thy little tongue is not. 

2d Gent. No, faith, that's like a woman bitten 60 
w*^ fleas, it never lyes stii. Fye upont, what a 
miserable thing tis to be a noble bride, there's 
such delayes in rising, in fitting gownes, in tyring, 
in pinning rebatoes, in poaking,in dinner, in sup- 
per, in revels, & last of all, in cursing the poore 65 
nodding fidlers, for keeping mistris bride so long 
up from sweeter revels, that, oh I could never 
endure to put it up without much bickering. 

1st Gent. Come,th'art an odde wench. Harke, 
harke, musicke ? Nay then the bride's up. 70 

2d Gent. Is she up ? Nay then I see she has 
been downe. Lord ha mercy on us, we women 
fall and fall still, and, when we have husbands, 



274 ^^t tiantm00mg of fAcr iT 

we play upon them like virginall jackes, they 
must ryse and fall to our humours, or else they'l 75 
never get any good straines of musicke out of 
us; but come now, have at it for a mayden- 
head. Strew. 

As they strew y enter Sir Quint ilian Shor those with Peeter 

Flash and two or three servingmen^ with lights. 

Sir ^intilian. Come knaves, night begins to 
be like my selfe, an olde man ; day playes the 80 
theefe and steales upon us. O well done, wenches, 
well done, well done, you have covered all the 
stony way to church with flowers, tis well, tis 
well. Ther*s an embleame too, to be made out of 
these flowers and stones, but you are honest 85 
wenches, in, in, in. 

2d Gent. When we come to your yeares, 
we shal learne what honesty is. Come, pew- 
fellow. Exeunt. 

Sir ^in. Is the musicke come yet ? So much 90 
to do ! 1st come ? 

Omnes. Come, sir. 

»S'/V ^uin. Have the merry knaves pul'd their 
fiddle cases over their instruments eares ? 

Flash. As soone as ere they entred our gates, 95 
the noyse went, before they came nere the great 
hall, the faint hearted villiacoes sounded at least 
thrice. 
> Sir ^in. Thou shouldst have revived them 



Scene L] tIPljf I^UttlOrOUfif ^Ott 2JS 

with a cup of burnt wine and sugar. SIrra, you, loo 
horse-keeper, goe« bid them curry theyr strings. 
Is my daughter up yet ? ExU [^Servingmari] . 

Flash, Up sir? She was seene up an houre 
agoe. 

Sir ^in. Sheets an early sturrer, ah sirra. 105 

Flash. SheeM be a late sturrer soone at night, 
sir. 

Sir ^in. Goe too, Peeter Flash, you have a 
good sodaine flash of braine, your wittes husky, 
and no marvaile, for tis like one of our come- 1 10 
dians beardes, still ith stubble ; about your busi- 
nes, and looke you be nymble to flye from the 
wine, or the nymble wine will catch you by the 
nose. 

Flash, If your wine play with my nose, sir, 115 
He knocke*s coxcombe. 

Sir ^in. Doe, Peeter, and weare it for thy 
labour. 
Is my Sonne in Law, Sir Walter Terell, ready 
yet ? 

Omnes. Ready, sir. Exit another \_Servingman.'] 

Sir ^in. One of you attend him : stay, Flash, 120 
where's the note of the guestes you have in- 
vited ? 

Flash. Here, sir. He pull all your guestes out 
of my bosome ; the men that will come, I have 
crost, but all the gentlewomen have at the tayleias 



276 XB\)t tantrussing of iacti. 

of the last letter a pricke, because you may read 
them the better. 

Sir ^in. My spectacles, lyght, lyght, 
knaves. 
Sir Adam Prickshaft, thou hast crost him, heele 
come. 

Flash. 1 had much a doe, sir, to draw Sir 13° 
Adam Prickeshaft home, because I tolde him 
twas early, but heele come. 

Sir ^in. Justice Crop, what, will he come? 

Flash. He took phisicke yesterday, sir. 

Sir ^uin. Oh, then Crop cannot come. 135 

Flash. O Lord, yes, sir, yes, twas but to make 
more roome in his crop for your good cheare. 
Crop will come. 

Sir ^in. Widdow Minever. 

Flash. Shee's prickt, you see, sir, and will 140 
come. 

Sir ^in. Sir Vaughan ap Rees, oh hee's 
crost twise ; so, so, so, then all these ladyes that 
fall downewardes heere will come I see, and all 
these gentlemen that stand right before them. 145 

Flash. All wil come. 

Sir ^in. Well sayd, heere, wryte them out 
agen, and put the men from the women; and, 
Peeter, when we are at church bring wine and 
cakes; be light & nimble, good Flash, for your 150 
burden will be but light. 



Scene L] ^j^t iQUXllOXOU^ ^Ott 277 

Enter Sir Adam, a light before him. 

Sir Adam Prickeshaft, god morrow, god mor- 
row, goe, in, in, in, to the bridegroomc, taste a 
cup of burnt wine this morning, twill make you 
flye the better all the day after. ^55 

Sir Adam. You are an early styrrer. Sir Quin- 
tilian Shorthose. 

Sir ^in. I am so ; it behoves me at my 
daughters wedding; in, in, in; fellow, put out 
thy torch, and put thy selfe into my buttery; the 160 
torch burnes ill in thy hand, the wine will burne 
better in thy belly, in, in. 

Flash. Ware there, roome for Sir Adam 
Prickeshaft ; your Worship — Exit \_Sir J^am] . 
Enter Sir Vaughan and Mistris Minever. 

Sir ^in. Sir Vaughan and Widdow Minever, 165 
welcome, welcome, a thousand times; my lips, 
Mistris Widdow, shall bid you god morrow. 
In, in, one to the bridegroome, the other to the 
bride. 

Sir Vaughan. Why then. Sir Ouiontilian Short- 1 7© 
hose, I will step into Mistris Bride, and Wid- 
dow Minever shall goe upon M. Bridegroome. 

Minever. No, pardon, for by my truely, Sir 
Vaughan, He ha no dealings with any M. Bride- 
groomes. ^75 

Sir ^in. In, widdow, in ; in, honest knight, in. 

Sir Vaughan. I will usher you, mistris wid- 
dow. 



278 W\)t Wintm$siinQ of (act i. 

Flash. Light there for Sir Vaughan; your 
good Worship — 180 

Sir Faughan. Drinke that shilling Ma. 
Peeter Flash, in your guttes and belly. 

Flash. He not drinke it downe, sir, but He 
turne it into that which shall run downe, oh 
merrily ! Exit Sir Vaughan \_with Minever~\ . 185 

Enter Blunt , Crispinus, Demetrius, and others with 
Ladies, lights before them. 

Sir ^uin. God morrow to these beauties, and 
gentlemen that have ushered this troope of 
ladyes to my daughters wedding, welcome, wel- 
come all ! A/lusick ? Nay then the bridegroome's 
comming, where are these knaves heere ? '9® 

Flash. All here, sir. 
Enter Terill, Sir Adam, Sir Vaughan, Celestine, Min- 
ever and other Ladies and attendants with lights. 

Terill. God morrow, ladies and fayre troopes 
of gallants. 
That have depos'd the drowsy king of sleep. 
To crowne our traine with your rich presences, 
I salute you all. 195 

Each one share thanks from thanks in generall. 

Crispinus. God morrow, M. Bride-groome, 
mistris Bride. 

Omnes. God morrow, M. Bride-groome. 

192-195, 208-219. These lines are printed as prose in the 
quarto. 



Scene I.J ^j^t I^UttlOrOUflf ^Oet 279 

Ter. Gallants, I shal intreate you to prepare 
For maskes and revels to defeate the night. 200 
Our soveraigne will in person grace our marriage. 
Sir ^in. What, will the king be heer ? 
Ter, Father, he will. 

Sir ^in. Where be these knaves? More 
rose-mary and gloves, gloves, gloves; choose, 205 
gentlemen ; ladyes put on soft skins upon the 
skin of softer hands. 

So, so, come. Mistress Bride, take you your place, 
The olde men first, and then the batchelors, 
Maydes with the bride, widdows and wives to- 
gether ; iio 
The priest's at church, tis time that we march 
thether. 
Ter. Deare Blunt, at our returne from church, 
take paines 
To step to Horace for our nuptiall songs ; 
Now, Father, when you please. 

Sir ^in. Agreed, set on. 

Come, good Sir Vaughan, must we lead the way ? ^^ 5 
Sir Vaughan. Peeter, you goe too fast for 
mistris pride ; 
So, gingerly, gingerly ; I muse why Sir Adam 
Prickshaft sticks so short behind. 
Sir ^in. He follows close; not too fast, 
holde up knaves, 
Thus we lead youth to church, they us to graves. 

Exeunt. 



28o turtle Wintm&&inQ of [act i. 



[Scene 2.1 



Horrace sitting in a study behinde a curtaine^ a candle by 
him burningy bookes lying confusedly : to himself e. 

Horace. To thee whose fore-head swels with 
roses, 

Whose most flaunted bower 

Gives life & sent to every flower, 

Whose most adored name incloses 

Things abstruse, deep, and divine, 5 

Whose yellow tresses shine, 

Bright as Eoan fire. 

O me, thy priest, inspire ! 

For I to thee and thine immortall name, 

In — in — in golden tunes, 10 

For I to thee and thine immortall name — 

In — sacred raptures flowing, flowing, swim- 
ming, swimming, 

In sacred raptures swimming. 

Immortal name, game, dame, tame, lame, lame, 
lame, 

Pux, hath, shame, proclaime, oh — 15 

In sacred raptures flowing, will proclaime, not — 

O me, thy priest, inspyre ! 

For I to thee and thine immortall name. 

In flowing numbers fild with spright and flame. 

Good, good ! in flowing numbers fild with spright 

k flame. ao 



Scene n.j tlTije l^umorousf poet 2 8 1 

Enter Asinius Bubo, 

Asinius, Horace, Horace ! My sweet ningle is 
alwayes in labour when I come, the nine muses 
be his midwives, I pray Jupiter. Ningle ! 

Hor. In flowing numbers fild with sprite and 
flame. 
To thee — 25 

Asin. To me ? I pledge thee, sweet ningle, 
by Bacchus quafliing boule, I thought th'adst 
drunke to me. 

Hor, It must have been in the devine lycour 
of Pernassus then, '\\\ which I know you would 30 
scarce have pledg'd me. But come, sweet roague, 
sit, sit, sit. 

Asin. Over head and eares yfaith ? I have a 
sacke-full of newes for thee; thou shalt plague 
some of them, if God send us life and health 35 
together. 

Hor. Its no matter. Empty thy sacke anon; 
but come here, first, honest roague, come. 

Asin. 1st good, ist good? pure Helicon? ha? 

Hor. Dam me ift be not the best that ever 4° 
came from me, if I have any judgement. Looke, 
sir, tis an Epithalamium for Sir Walter Terrels 
wedding ; my braines have given assault to it but 
this morning;. 

Asin. Then I hope to see them flye out like 45 
gun-powder ere night. 



282 t!fj)e Winttvminz of iact i. 

Hor. Nay, good roague, marke, for they are 
the best lynes that ever I drew. 

Jsin. Heer's the best Jeafe in England; but 
on, on, He but tune this pipe. 50 

Hor. Marke, To thee whose fore-head swels 
with roses. 

Jsin. O sweet ! but will there be no excep- 
tions taken, because fore-head and swelling 
comes together ? 55 

Hor. Push, away, away, its proper, besides, 
^tis an elegancy to say the fore head swels. 

Jsin. Nay, an't be proper, let it stand, for 
Gods love. 

Hor. Whose most haunted bower 60 

Gives life and sent to every flower .^ 
Whose most adored name incloses 
Things abstruse.^ deep^ and divine. 
Whose yellow tresses shine.. 
Bright as Eoan fire — 65 

Jsin. O pure, rich, ther's heatein this ; on, on ! 

Hor, Bright as Eoan fire. 
O me., thy priest., inspire ! 

For I to thee and thine immortall name 

marke this. 
In flowing numbers fild with spryte and flame — 70 

Jsin. I, mary, ther's spryte and flame in this. 

Hor. A pox a this tobacco ! 

Jsin. Wod this case were my last, if I did 



Scene II] ^\)t I^UtttOrOUS? ^Ott 283 

not marlce ! Nay all's one; I have alwayes a con- 
sort of pypes about me : myne ingle is all fire 75 
and water ; I markt, by this candle (which is 
none of Gods angels) I remember, you started 
back at sprite and flame. 

Hor. For I to thee and thine tmmortall name^ 
In flowing numbers fild with sprite and flame ^ 80 

To thee^ Loves mightiest king^ 
Himen ! O Himen ! does our chaste muse sing, 

Jsin. Ther's musicke in this. 

Hor, Marke now, deare Asinius. 
Let these virgins quickly see thee 85 

Leading out the bride ^ 
Though theyr blushing cheekes they hide^ 
Tet with kisses will they fee thee^ 
To untye theyr virgin z.one^ 
They grieve to lye alone. 90 

Jsin. So doe I, by Venus. 

Hor. Tet with kisses wil they fee thee.^ my muse 
has marcht (deare roague) no farder yet, but how 
ist ? how ist ? Nay, prethee, good Asinius, deale 
plainly, doe not flatter me, come, how ? — 95 

dsin. If I have any judgement, — 

Hor. Nay, look you, sir, and then follow a 
troope of other rich and laboured conceipts. Oh 
the end shall be admirable! But how ist, sweet 
Bubo, how, how ? 100 

Asin. If I have any judgement, tis the best 
stufFe that ever dropt from thee. 



284 tCljr ;illntru00ing of (Act i. 

Hor. You ha scene mv acrostlcks ? 

Jsin. He put up my pypes and then He see 
any thing. *°5 

Hor. Th'ast a coppy of mine odes to, hast not, 
Bubo? 

Jsin. Your odes ? O, that which you spake 
by word a mouth at th' ordinary, when Musco, 
the gull, cryed mew at it ? no 

Hor. A pox on him, poore braineles rooke! 
And you remember, I tolde him his wit lay at 
pawne with his new sattin sute, and both would 
be lost, for not fetching home by a day. 

Jsin. At which he would faine ha blusht, but 1 15 
that his painted cheekes would not let him. 

Hor. Nay, sirra, the Palinode, which I meane 
to stitch to my Revels, shall be the best and in- 
genious peece that ever I swet for; stay, roague, 
lie fat thy spleane and make it plumpe with '^o 
laughter. 

Jsin. Shall I ? fayth, ningle, shall I see thy 
secrets ? 

Hor. Puh, my friends. 

Jsin. But what fardle's that? what fardle's'^S 
that ? 

Hor. Fardle ? away, tis my packet ; heere 
lyes intoomb*d the loves of knights and earles ; 
heere tis, heere tis, heere tis. Sir Walter Terils 
letter to me, and my answere to him: I no 13° 



sczsz n.j tE^t i^umoroutf poet 285 

sooner opened his letter, but there appeared to 
me three glorious Angels, whome I ador'd as 
subjectes doe their Soveraignes : the honest 
knight angles for my acquaintance with such 
golden baites^ — but why doost laugh, my good 135 
roague ? how is my answere, prethee, how, how ? 

Jsin. Answere? As God judge me, ningle, 
for thy wit thou mayst answer any Justice of 
peace in England I warrant ; thou writ'st in a 
most goodly big hand too — I like that — & 140 
readst as leageably as some that have bin sav'd by 
their neck-verse. 

Hor. But how dost like the knights inditing ? 

Jsin. If I have any judgement, a pox ont ! 
Heer*s worshipfull lynes indeed, heer's stuffe,i45 
but, sirra ningle, of what fashion is this knights 
wit, of what blocke ? 

Hor. Why you sec — wel, wel, an ordinary 
ingenuity, a good wit for a knight ; you know 
how, before God, I am haunted with some the 150 
most pittyfull dry gallants. 

Jsin. Troth, so I think ; good peeces of 
lantskip shew best a far ofF. 

Hor. I, I, I, excellent sumptcr horses, carry 
good cloaths ; but, honest roague, come, what 155 
news, what newes abroad ? I have heard a the 
horses walking a' th top of Paules. 

131 adored. Q, adorn'd. See Ad Lector em, p. 270, I. 7. 
148 Hor. Q, Asi. 



286 tK^e <lllntrufi(s;mg of [act i. 

Jsin. Ha ye ? Why the Captain Tucca rayles 
upon you most preposterously behinde your 
backe. Did you not heare him ? i6o 

Hor. A pox upon him ! By the white h soft 
hand of Minerva, He make him the most ridi- 
culous — dam me if I bring not's humor ath 
stage! & — scurvy, lymping tongu'd captaine, 
poor greasie buffe jerkin, hang him ! Tis out of 165 
his element to traduce me : I am too well ranckt, 
Asinius, to bee stab'd with his dudgion wit : 
sirra. He compose an epigram upon him, shall 
goe thus — 

Jsin. Nay, I ha more news : ther's Crispinusiyo 
& his jorneyman poet, Demetrius Fannius, too, 
they sweare they'll bring your life & death 
upon'th stage like a bricklayer in a play. 

Hor. Bubo, they must presse more valiant 
wits than theyr own to do it: me ath stage ?»75 
ha! ha ! He starve their poore copper-lace work- 
masters that dare plav me. I can bring (& that 
they quake at) a prepar'd troope of gallants, who, 
for my sake, shal distaste every unsalted line in 
their fly-blowne comedies. 180 

Asin. Nay, that's certaine ; ile bring 100 gal- 
lants of my ranke. 

Hor. That same Crispinus is the silliest dor, 
and Fannius the slightest cob-web-lawne peece 
of a poet. Oh God ! 185 

176 stari't their. Q. starte thence. See Ad Lectorem, p. 270, 1. 9. 



Scene n.i tlT^e H^umotoutf ^oec 287 

Why should I care what every dor doth buz 
In credulous eares ? It is a crowne to me, 
That the best judgements can report me 
wrong'd. 

Asin. I am one of them that can report it. 

Hor. I thinke but what they are, and am not 
moovM : 190 

The one a light voluptuous reveler, 
The other, a strange arrogating pufFe, 
Both impudent, and arrogant enough. 

Jsin, S'lid, do not Criticus revel in these 
lynes ? ha, ningle, ha ? Knocking. 

Hor, Yes, theyVe mine owne. 195 

Crispinus ^withoufj . Horrace ! 

Demetrius ^uithout^ . Flaccus ! 

Cris. Horrace, not up yet ? 

Hor. Peace, tread softly, hyde my papers. 
Who's this so early ? Some of my rookes, some 200 
of my guls ? 

Cris. Horrace ! Flaccus ! 

Hor. Who's there ? stay, treade softly. Wat 
Terill, on my life ! who's there ? My gowne, 
sweete roague. So, come up, come in. 205 

Enter Crispinus and Demetrius. 

Cris. God morrow, Horrace. 

Hor. O, God save you, gallants. 

Cris. Asinius Bubo, well met. 

Jsin. Nay, I hope so, Crispinus, yet I was 



2 88 ®l)e Ziantru00ing of (Acti. 

sicke a quarter of a vcare a goe of a vehement aio 
great tooth-atch : a pox ont, it bit me vilye ; as 
God sa me, la, I knew twas you by your knock- 
ing, so soone as I saw you. Demetrius Fannius, 
wil you take a whifFe this morning ? I have 
tickling geare now; beer's that will play with 215 
your nose, and a pype of mine owne scowring 
too. 

Dem. I, and a hodgshead too of your owne, 
but that will never be scowred cleane I feare. 

Asm. I burnt my pype yesternight, and twas 220 
never usde since ; if you will, tis at your service, 
gallants, and tobacco too, tis right pudding 1 
can ,tell you ; a lady or two, tooke a pype full 
or two at my hands, and praizde it for the 
Heavens ; shall I fill Fannius ? 225 

Dem. I thanke you, good Asinius, for your 
love. 
I sildome take that phisicke, tis enough 
Having so much foole to take him in snufFe. 

Hor. Good Bubo, read some booke, and give 
us leave 230 

Asin. Leave have you, deare ningle. Marry, 
for reading any book. He take my death upont 
(as my ningle sayes) tis out of my elcmet. No, 
faith, ever since I felt one hit me ith teeth that 
the greatest clarkes are not the wisest men, 235 
could 1 abide to goe to schoole; I was at Ai in 



sc£NE ii.i ^\)t l^umorous? poet 289 

present! and left there : yet, because He not be 
counted a worse foole then I am, He turne over 
a ne\y leafe. Asinius reads and takes tabacco. 

Hor. To see my fate, that when I dip my pen 240 
In distilde roses, and doe strive to dreine 
Out of myne inke all gall ; that when I way 
Each sillabie I write or speake, because 
Mine enemies with sharpe and searching eyes 
Looke through & through me, carving my poore 

labours »4S 

Like an anotomy: Oh heavens, to see 
That when my lines are measur'd out as straight 
As even paralels, tis strange that still. 
Still some imagine they are drawne awry. 
The error is not mine, but in theyr eye, 250 

That cannot take proportions. 

Cris, Horrace, Horrace, 

To stand within the shot of galling tongues 
Proves not your gilt, for could we write on 

paper 
Made of these turning leaves of heaven, the 

cloudes. 
Or speake with angels tongues, yet wise men 

know 255 

That some would shake the head; tho saints 

should sing. 
Some snakes must hisse, because they're borne 

with stings. 



290 ^\)t tiantrufi?0ing of (act i. 

Hor. Tis true. 

Cris. Doe we not see fooles laugh at heaven, 

and mocke 
The Makers workmanship ? Be not you griev'(l,26o 
If that which you molde faire, upright, and 

smooth, 
Be skrewed awry, made crooked, lame and vile, 
By racking coments, and calumnious tongues ; 
So to be bit, it ranckles not, for innocence 
May with a feather brush off the foulest wrongs. 265 
But when your dastard wit will strike at men 
In corners, and in riddles folde the vices 
Of your best friends, you must not take to heart, 
If they take off all gilding from their pilles, 
And onely offer you the bitter coare. 

Hor, Crispinus ! 270 

Cris. Say that you have not sworne unto your 

paper, 
To blot her white cheekes with the dregs and 

bottome 
Of your friends private vices: say you sweare 
Your love and your aleageance to bright vertue 
Makes you descend so low as to put on 275 

The office of an executioner, 
Onely to strike off the swolne head of sinne. 
Where ere you finde it standing: 

272 (At dregs, Q. her. See Ad Lectorem, p. 270, 1. II. " 
277 sivolney Q. omits. See Ad Lectorem, p. 270, 1. 14. 



Scene II.j ^t^e J^UtttOrOUiS? ^Ott 29 1 

Say you sweare, 

And make damnation parcell of your oath, 280 

That when your lashing jestes make all men bleed, 
Yet you whip none. Court, citty, country, friends. 
Foes, all must smart alike ; yet court, nor citty, 
Nor foe, nor friend, dare winch at you ; great 
pitty. 

Dem. If you sweare, dam me Fannius, or 
Crispinus, 285 

Or to the law (our kingdomes golden chaine) 
To poets dam me, or to players dam me. 
If I brand you, or you, tax you, scourge you: 
I wonder then, that of five hundred, foure 
Should all point with their fingers in one instant 290 
At one and the same man. 

Hor, Deare Fannius. 

Dem, Come, you cannot excuse it. 

Hor. Heare me, I can — 

Dem, You must daube on thicke collours 
then to hide it. 

Cris. We come like your phisitlons, to purge 
Your sicke and daungerous minde of her disease. 295 

Dem, In troth we doe, out of our loves we 
come. 
And not revenge, but, if you strike us still, 
We must defend our reputations : 

289 ^'ve hundred, foure. Q, five hundred, foure hundred five. 
See Ad Lectore/Ttj p. 270, 1. 16. 



292 tETlje zantrufliflfing of (acti. 

Our pens shall like our swords be alwayes 

sheath'd, 
Unlesse too much provockt : Horace, if then 300 
They draw bloud of you, blame us not, we are 

men. 
Come, let thy muse beare up a smoother sayle ; 
Tis the easiest and the basest arte to raile. 

Hor. Deliver me your hands, I love you both 
As deare as my owne soule : proove me, and 

when 305 

I shall traduce you, make me the scorne of men. 

Both, Enough, we are friends. 

Cris. What reads Asinius? 

Jsin. By my troth, heer's an excellent com- 
fortable booke, it's most sweet reading in it. 

Dem, Why, what does it smell of. Bubo ? 310 

Jsin. Mas, it smels of rose-leaves a little too. 

Hor. Then it must needs be a sweet booke : 
he would faine perfume his ignorance. 

Jsin. I warrant he had wit in him that pen'd it. 

Cris. Tis good, yet a foole will confesses^S 
truth. 

Jsin. The whoorson made me meete with a 
hard stile in two or three places as I went over 
him. 

Dem. I beleeve thee, for they had need to be ^^o 
very lowe & easie stiles of wit that thy braines 
goe over. 



Scene ii.j tC^^je t^umoroutf ^of t 293 

Enter Blunt and Tucca. 

Blunt. Wher's this gallant? Morrow, gentle- 
men. What's this devise done yet, Horace ? 

Hor. Gods so, what meane you to let this 3^5 
fellow dog you into my chamber ? 

Blunt. Oh, our honest captayne, come, pre- 
thee let us see. 

Tucca. Why you bastards of nine whoores, 
the Muses, why doe you walk heere in this gor-330 
geous gallery of gallant inventions, with that 
whooreson, poorelyme & hayre-rascall ? why — 

Oris. O peace, good Tucca, we are all sworne 
friends. 

Tuc. Sworne ? That Judas yonder that walkes 335 
in rug, will dub you Knights ath Poste, if you 
serve under his band of oaths: the copper-fact 
rascal wil for a good supper out sweare twelve 
dozen of graund juryes. 

Blunt. A pox ont, not done yet, and bin 340 
about it three dayes ? 

Hor. By Jesu, within this houre, save you, 
Captayne Tucca. 

Tuc. Dam thee, thou thin bearded herma- 
phrodite, dam thee. He save my selfe for one, 1 345 
warrant thee. Is this thy tub, Diogines? 

Hor. Yes, Captaine, this is my poore lodging. 

Asin, Morrow, Captaine Tucca, will you 
whifFe this morning \ 



294 ®l)e tantrufif^ing of (acti. 

Tuc. Art thou there, goates pizzel? no, goda-350 
mercy, Caine, I am for no whifFs, I : come hether, 
sheep-skin-weaver, s*foote,thou lookst as though 
th'adst beg'd out of a jayle : drawe, I meane not 
thy face (for tis not worth drawing) but drawe 
neere: this way, martch, follow your com- 355 
maunder, you scoundrell : so, thou must run of 
an errand for mee, Mephostophiles. 

Hot. To doe you pleasure, Captayne, I will, 
but whether ? 

Tuc. To hell, thou knowst the way, to hell 360 
my fire and brimstone, to hell ; dost stare, my 
Sarsens-head at Newgate? dost gloate? He march 
through thy dunkirkes guts for shooting jestes 
at me. 

Hor. Deare Captaine, but one word. 365 

Tuc. Out, bench-whistler, out, ile not take 
thy word for a dagger pye : you browne-bread- 
mouth stinker, lie teach thee to turne me into 
Bankes his horse, and to tell gentlemen I am a 
jugler, and can shew trickes. 37° 

Hor. Captaine Tucca, but halfe a word in 
your eare. 

Tuc. No, you starv'd rascall, thou't bite off 
mine eares then : you must have three or foure 
suites of names, when like a lowsie, pediculous 375 
vermin th'ast but one suite to thy backe : you 
must be call'd Asper, and Criticus, and Horace, 



Scene n.] tB^^f fQUmOtOU^ ^Ott 295 

thy tytle's longer a reading then the stile a the 
big Turkes — Asper, Criticus, Quintus Hora- 
tius Flaccus. 380 

Hor, Captaine, I know upon what even bases 
I stand, and therefore — 

Tuc. Bases ? wud the roague were but ready 
for me ! 

B/unt. Nay prethee, deare Tucca, come, you 385 
shall shake — 

Tuc. Not hands with great Hunkes there, 
not hands, but He shake the gull-groper out of 
his tan*d skinne. 

Oris. &" Bern. For our sake, Captaine, nay, 390 
prethee, holde. 

Tuc. Thou wrongst heere a good, honest ras- 
call, Crispinus, and a poore varlet, Demetrius 
Fannius, (bretheren in thine owne trade of 
poetry); thou sayst Crispinus sattin dublet is 395 
reavel'd out heere, and that this penurious 
sneaker is out at elboes. Goe two, my good full- 
mouth'd ban-dog, He ha thee friends with both. 

Hor. With all my heart, captaine Tucca, 
and with you too. He laye my handes under4oo 
your feete, to keepe them from aking. 

Omnes. Can you have any more ? 

Tuc. Saist thou me so, olde Coale ? come doo't 
then ; yet tis no matter neither. He have thee in 

403 Coale ? come. Q, Coale come ? 



296 ^^t tantrus^^ing of [act i. 

league first with these two rowly powlies : they 405 
shal be thy Damons and thou their Pithyasse ; 
Crispinus shall give thee an olde cast sattin suite, 
and Demetrius shall write thee a scene or two, 
in one of thy strong garlicke comedies ; and thou 
shalt take the guilt of conscience for't, and 41° 
sweare tis thine owne, olde lad, tis thine owne : 
thou never yet fels't into the hands of sattin, 
didst ? 

Hor. Never, Captaine, I thanke God. 

Tuc. Goe too, thou shalt now. King Gorbo-4is 
duck, thou shalt, because He ha thee damn'd, He 
ha thee all in sattin, Asper, Criticus, Quintus 
Horatius Flaccus ; Crispmus shal doo't, thou 
shalt doo't, heyre apparant of Helicon, thou 
shalt doo't. 4io 

j^sin. Mine ingle weare an olde cast sattin 
suite .? 

Tuc. I, wafer-face, your ningle. 

Jsin. If he carry the minde of a gentleman, 
he'll scorne it at's heeles. 4^5 

Tuc. Mary mufFe, my man a ginger-bread, 
wilt eate any small coale ? 

Jsin. No, Captaine, wod you should well 
know it, great coale shall not fill my bellie. 

Tuc. Scorne it, dost scorne to be arrested at 430 
one of his olde suites? 

Hor. No, Captaine, He weare any thing. 



Scene IL] ®^e t^XXmOtOUS ^Ott 297 

Tuc. I know thou wilt, I know th'art an 
honest, low minded pigmey, for I ha scene thy 
shoulders lapt in a plaiers old cast cloake, like 3435 
slie knave as thou art: and when thou ranst mad 
for the death of Horatio, thou borrowedst a 
gowne of Roscius the stager, (that honest Nico- 
demus) and sentst it home lowsie, didst not ? 
Responde^ didst not ? 440 

Blunt. So, so, no more of this. Within this 
houre — 

Hor. l\ I can sound retreate to my wits, with 
whome this leader is in skirmish. He end within 
this houre. 

Tuc. What, wut end? wut hang thy selfe 
now ? has he not writ iinis yet, Jacke ? What, 
will he bee fifteene weekes about this cockatrices 
egge too ? has hee not cackeld yet ? not laide yet ? 

Blunt. Not yet, hee sweares hee will within 450 
this houre. 

Tuc. His wittes are somewhat hard bound : 
the puncke, his muse, has sore labour ere the 
whoore be delivered : the poore safFron-cheeke 
sun-burnt gipsie wantes phisicke ; give the hun-455 
grie-face pudding-pye-eater ten pilles, ten shil- 
lings, my faire Angelica, they'l make his muse 
as yare as a tumbler. 

Blunt. He shall not want for money, if heele 
^"f^- 460 



298 arjie tiantm00mg of (acti. 

Tuc. Goe by, Jeronimo, goe by ; and heere, 
drop the ten shillings into this bason ; doe, drop, 
when Jacke ? Hee shall call me his Maecenas ; 
besides, He dam up's oven-mouth for rayling 
at's. So, ist right Jacke? ist sterling? Fall off 465 
now to the vanward of yonder foure stinkers, 
and aske alowde if wee shall goe ? The knight 
shall defray Jacke, the knight when it comes to 
Summa totalis^ the knyght, the knight. — 

Blunt. Well, gentlemen, we'll leave you. 470 
Shall we goe, Captaine ? Good Horrace, make 
some hast. 

Hor. He put on wings. 

Jsin. I never sawe mine ingle so dasht in my 
life before. 475 

Cris. Yes once, Asinius. 

Jsin. Mas, you say true, hee was dasht worse 
once, going (in a rainy day) with a speech to'th 
Tilt-yard. By Gods 1yd, has call'd him names a 
dog would not put up, that had any discreation.480 

Tuc. Holde, holde up thy hand, I ha seene 
the day thou didst not scorne to holde up thv 
golles : ther's a souldiers spur-royall, tweh e 
pence ; stay, because I know thou canst not 
write without quick-silver, — up agen, this gol^Ss 
agen, — I give thee double presse-money ; stay, 
because I know thou hast a noble head, ile de- 
vide my crowne ; 6 royall Porrex, ther's a teston 



Scene iLi ®ije J^utttoroufl? ^oet 299 

more; goe, thou and thy muse munch, doe, 
munch ; come, my deare mandrake, if skeldring490 
fall not to decay, thou shalt florish. Farewell, 
my sweet Amadis de Gaule, farewell. 

Hor, Deare Captaine. 

Tuc, Come, Jacke. 

Dem, Nay, Captaine, stay, we are of your 495 
band. 

Tuc. March faire, then. 

Cris. Horace, farewell; adue Asinius. Exeunt 
^Bluntf Tucca, Crispinus and Demetrius^ . 

Jsin. Ningle, lets goe to some Taverne, and 
dine together, for my stomache rises at this 500 
scurvy leather Captaine. 

Hor. No, they have choakt me with mine 
owne disgrace, 
Which (fooles) ile spit againe even in your 
face. Exeunt* 



300 ®Jie tiaintrufi?0mg of iacth. 

[y^a 11. Scene I. 

The House of Sir ^uintilian Sborthose.^ 

Enter Sir ^intilian Shor those y Sir Adarriy Sir Vaughan, 
Minever y with servingmen. 

Sir ^intilian. Knaves, varlets, what lungls, 
give me a dozen of stooles there. 

Sir Vaughan. Sesu plesse us all in our five 
sences a peece, what meane yee, Sir Kintilian 
Sorthose, to stand so much on a dozen stooles ? 5 
Heere be not preeches inuffe to hyde a dozen 
stooles, unlesse you wisse some of us preake his 
sinnes. 

Sir ^int, I say, Sir Vaughan, no shinne shal 
be broken heer ; what lungis, a chayre with a lo 
stronge backe and a soft bellie, great with childe, 
with a cushion for this reverend lady. 

Minever. God never gave me the grace to be 
a lady, yet I ha beene worshipt, in my conscience, 
to my face a thousand times. I cannot denye, 15 
Sir Vaughan, but that I have all implements be- 
longing to the vocation of a lady. 

Sir Vaughan. I trust, Mistris Minever, you 
have all a honest oman shud have ? 



Scene I] tU^^t J^UtttOrOUfi? ^Ott 30 1 

Min. Yes perdie, as my coach, and my fan, 20 
and a man or two that serve my turne, and 
other things which Ide bee loath every one 
should see, because they shal not be common. I 
am in manner of a lady in one point 

Sir Vaughan, I pray, mistris Minevers, let us 25 
all see that point for our better understanding. 

Min. For I ha some thinges that were fetcht 
(I am sure) as farre as some of the Low Coun- 
tries, and I payde sweetly for them too, and 
they tolde me they were good for ladies. 30 

Sir ^uint. And much good do't thy good 
heart, faire widdow, with them. 

Min. I am fayre enough to bee a widdow, 
Sir Quintilian. 

Sir Vaughan. In my soule and conscience, and 35 
well favoured enough to be a lady : heere is Sir 
Kintilian Sorthose, and heere is Sir Adam Prick- 
shaft, a sentleman of a very good braine and 
well headed j you see he shootes his bolt sildome, 
but when Adam lets goe, he hits : and heere is 40 
Sir Vaughan ap Rees, and I beleeve if God sud 
take us all from his mercy, as I hope hee will 
not yet, we all three love you, at the bottome 
of our bellyes, and our hearts, and therefore 
Mistris Minever, if you please, you shall be 45 
knighted by one of us, whom you sail desire 
to put into your device and minde. 



302 Ql^tje nantruflf^mg of [acth. 

Min. One I must have, Sir Vaughan. 

Sir ^int. And one of us thou shalt have, 
widdow. 50 

Min. One I must have, for now every one 
seekes to crow over me. 

Sir Vaughan. By Sesu, and if I finde any 
crowing over you, & he were a cocke, (come 
out as farre as in Turkeys country) tis possible 55 
to cut his combe off. 

Min. I muse why Sir Adam Prickshaft flyes 
so farre from us. 

Sir Adam. I am in a browne study, my deare, 
{{ love should bee turned into a beast, what 60 
beast hee were fit to bee turned into. 

Sir ^uint. I thinke, Sir Adam, an asse, be- 
cause of his bearing. 

Min. I thinke (saving your reverence) Sir 
Adam, a puppy, for a dog is the most loving 65 
creature to a Christian that is, unles it be a 
childe. 

Sir Ad. No, I thinke if love should bee 
turn'd away, and goe to serve any beast, it must 
bee an ape, and my reason 70 

Sir Vaughan. Sir Adam, an ape ? ther'snomore 
reason in an ape than in a very plaine monkey, 
for an ape has no tayle, but we all know, or tis 
our duty to know, love has two tailes. In my 
sudsment, if love be a beast, that beast is a 75 



Scene Lj tlTlie J^UtttOtOU^ ^Ott 3^3 

bunce of reddis; for a bunce of reddis is wise 
meate without mutton, and so is love. 

Min, Ther's the yawning Captaine (saving 
your reverence that has such a sore mouth) 
would one day needes perswade me that love 80 
was a rebato ; and his reason was (saving your 
reverence) that a rebato was worne out with 
pinning too often ; and so he said love was. 

Sir Faughan. And Master Captaine Tucca 
sayd wisely too, love is a rebato indeede; a re- 85 
bato must be poaked; now many women weare 
rebatoes, and many that weare rebatoes 

Sir Ad. Must be poakt. 

Sir Vaughan. Sir Adam Prickshaft has hit the 
cloute. Musicke, 90 

Sir ^int. The Musicke speakes to us; we'll 
have a daunce before dinner. 
Enter Sir Walter Terri/l, Ccelestine^ Blunt y Crispinus, 
and DemetriuSy every one with a Lady, 

AIL The King's at hand. 

Terrill. Father, the King's at hand. 

Musicke talke lowder, that thy silver voice 
May reach my Soveraignes eares. 95 

Sir Vaughan. I pray doe so, musitions, bestir 
your fingers, that you may have us all by the 
eares. 

Sir ^int. His Grace comes ; a hall varlets. 
Where be my men ? Blow, blow your colde trum- 100 



304 ®l)e tantrus!0mg of iacth. 

pets till they sweate, tickle them till they sound 
agen. 

Blunt. Best goe meete his Grace. 

All. Agreed. 

Sir Vaughan. Pray all stand bare, as well men 105 
as women. Sir Adam, is best you hide your head 
for feare your wise braines take key-colde ; on 
afore, Sir Kintilian ; sentlemen fall in before the 
ladyes, in seemely order and fashion ; so, this is 
comelye. mo 

Enter Trumpets sounding ; they goe to the doorey and 

meete the King and his traine ; and, whilst the 

trumpets sound y the King is welcom* dy kisses the 

bride y and honors the bridegroome in dumbe shew. 

King. Nay, if your pleasures shrinke at sight 
of us, 
We shall repent this labour, Mistris Bride, 
You that for speaking but one word to day 
Must loose your head at night ; you that doe 

stand 
Taking your last leave of virginity ; 115 

You that being well begun, must not be maide: 
Winne you the ladies, I the men will wooe, 
Ourselfe will leade, my blushing bride, with you. 

Sir Vaughan. God blesse your Majesty, and 
send you to be a long King William Rufus over 120 
us, when he sees his times & pleasures. 

108-110 the Ladyes . . . comelye. Q, he Ladyes . . . cometye. 



Scene I.J tl^^t l^tttttOrOUSf ^Ott 305 

King. Wee thanke you, good Sir Vaughan ; 
wee will take your meaning not your words. 

Sir ^int, Lowde musicke there. 

Sir Vaughan. I am glad your majesty will 125 
take any thing at my hands ; my words, I trust 
in Sesu, are spoken betweene my soule and body 
together, and have neither felonies nor treasons 
about them, I hope. 

King. Good words, Sir Vaughan, I pretheeis© 
give us leave. 

Sir Vaughan [aside] . Good words, Sir Vaughan? 
Thats by interpretation in English, you'r best 
give good words. Sir Vaughan. God and his 
ansells blesse me, what ayles his majestye to 135 
be so tedious and difficult in his right mindes 
now ? I holde my life that file rascall-rymer, 
Horace, hath puzd and puzd above a hundred 
merie tales and lyce into his great and princely 
eares. By god, and he use it, his being Phoebus 140 
priest cannot save him. If hee were his sapline 
too, ide prease upon his coxcomb ; good lord blesse 
me out of his majesties celler. — King Wil- 
liams, I hope tis none offences to make a sup- 
plication to God a mightie for your long life, for 145 
by Shesu I have no meaning in't in all the world, 
unles rascalls be here that will have your grace 
take shalke for shees, and unlesse Horace has 
sent lyce to your majesty. 



3o6 t!t^e mntru^fifing of [act ii. 

King. Horace? What's he, Sir Vaughan ? 150 

Sir Vaughan. As hard-favourd a fellow as 
your majestie has scene in a sommers day ; he 
does pen, an't please your grace, toyes that will 
not please your grace; tis a poet — we call 
them bardes in our countrie — singes ballads and 155 
rymes, and I was mightie sealous that his inke, 
which is blacke and full of gall, had brought my 
name to your majestie, and so lifted up your hye 
and princely coller. 

King. I neither know that Horace, nor mine 
anger. 160 

If, as thou saist, our high and princely choller 
Be up, wee'l tread it downe with daunces ; ladies 
Loose not your men ; faire measures must be 

tread. 
When by so faire a dauncer you are lead. 

Sir Vaughan. Mistris Miniver. 165 

Min. Perdie, Sir Vaughan, I cannot dance. 

Sir Vaughan. Perdie, by this Miniver cappe, 

and acording to his masesties leave too, you 

sail be put in among theise ladies, & daunce 

ere long, I trest in god, the saking of the seetes.170 

They daunce a strainer and whilst the others 

keepe on^ the King and Celestine stay. 

King. That turne, faire bride, shews you must 
turne at night. 
In that sweet daunce which steales away delight. 



Scene L] ®^e J^UtttOrOUfif |BOet 307 

Celestine. Then pleasure is a theife, a fit, a 

feaver. 
King, True, he's the thiefe, but women the 
receiver. 
Another change ; they fa II in y the rest goe on. 
King, This change, sweet maide, saies you 
must change your life, 175 

As virgins doe. 

Cel, Virgins nere change their life. 

She that is wiv'd a maide, is maide and wife. 
King, But she that dyes a maide — 
Cel. Thrice happy then. 

King. Leades apes in hell. 
Cel. Better leade apes then men. 

At this third change they end, and she meetes 
the King. 
King, Well met. 
Cel, Tis overtaken. 

King, Why, faire sweet ? 180 

Cel, Women are overtaken when they meete. 
King. Your bloud speakes like a coward. 
Cel. It were good. 

If every maiden blush had such a bloud. 

King. A coward bloud ? Why, whom should 

maidens feare ? 
Cel. Men, were maides cowards, they'd not 
come so nere. 
My Lord, the measure's done, I pleade my duetie 



85 



3o8 ^\)t Zlllntru00mg of [actii. 

King. Onelie my heart takes measure of thy 

beautie. 
Sir ^int. Now, by my hose I sweare, — 
that's no deepe oath, — 
This was a fine, sweet earth-quake gentlie moou'd 
By the soft winde of whispring silkes. Come 

ladies, 190 

Whose joynts are made out of the dauncing 

orbes. 
Come, follow me, walke a colde measure now. 
In the brides chamber, your hot beauties melt. 
Take everie one her fan, give them their places. 
And wave the northerne winde upon your faces. 195 
Celestine and all the Ladyes doing obeysance 
to the Kingy who onely kisses her. Exeunt, 
Shor those manning them; the Gallants 
stand aloofe. 

King. Sir Walter Terrill. 

Ter. My confirmed Leige. 

King. Beautie out of her bountie thee hath 
lent 
More then her owne, with liberall extent, 

Ter. What meanes my Lord? 

King. Thy bride, thy choice, thy wife. 

She that is now thy fadom, thy new world, 200 
That brings thee people, and makes little subjects 
Kneele at thy feete, obay in everie thing ; 
So everie father is a private king. 



Scene 1.1 ^J^^ J^UmOrOU^ J^OfC 309 

Ter. My Lord, her beauty is the poorest part, 
Chiefiie her vertues did endowe my heart. 205 

King. Doe not back-bite her beauties, they 
all shine 
Brighter on thee, because the beames are thine, 
To thee more faire, to others her two lips 
Shew like a parted moone in thine eclipse ; 
That glaunce, which lovers mongst themselves 

devise, a,o 

Walkes as invisible to others eies. 
Give me thine eare. 

Crispinus. What meanes the King ? 

Demetrius. Tis a quaint straine. 
Ter. My Lord. 

King. Thou darst not, Wat. 

Ter. She is too course an object for the court. 
King. Thou darst not, Wat : let to night be 

to morrow. ai^ 

Ter. For sheets not yet mine owne. 
King. Thou darst not, Wat. 

Ter. My Lord I dare, but — 

King. But I see thou darst not. 

Ter. This night. 

King. Yea, this night. Tush, thy minde repaires 
not, 
The more thou talk'st of night, the more thou 

darst not ; 220 

Thus farre I tend, I wod but turne this spheare 



310 tEPtje tdntrusfsfing of iactii. 

Of ladies eyes, and place it in the court, 
Where thy faire bride should for the zodiacke 

shine. 
And every lady else sit for a signe. 
But all thy thoughts are yellow, thy sweet bloud2i5 
Rebels, th'art jealous Wat; thus with prouderevels 
To emmulate the masking firmament. 
Where starres dance in the silver hall of heaven, 
Thy pleasure should be seasoned, and thy bed 
Relish thy bride, but, thou darst not, Wat. 230 

Ter. My Loord, I dare. 

King. Speake that agen. 

Ter. I dare. 

King. Agen, kinde Wat, and then I know 
thou darst. 

Ter. I dare and will by that joynt holy oath, 
Which she and I swore to the booke of heaven 
This very day, when the surveying sunne 235 

Riz like a witnes to her faith and mine. 
By all the loyalty that subjects owe 
To Majesty, by that, by this, by both, 
I sweare, to make a double guarded oath. 
This night untainted by the touch of man, 240 

She shall a virgin come. 

King. To Court ? 

Ter. To Court. 

I know I tooke a woman to my wife. 
And I know women to be earthly moones, 



Scene L] tE'^t i^mOtOUfl? ^Ott 3 1 1 

That never shine till night ; I know they change 
Their orbes (their husbands) and in sickish hearts, 245 
Steale to their sweete Endimions, to be cur'd 
With better phisicke, sweeter dyet drinkes 
Then home can minister : all this I know, 
Yet know not all, but give me leave, O King, 
To boast of mine, and sale that I know none j 250 
I have a woman, but not such a one. 

King. Why, she's confirmed in thee ; I now 
approove her, 
If constant in thy thoughts, who then can moove 
her? 

Enter Sir Quintilian. 
Sir ^int. Wilt please your Highnes take 
your place within ? 
The ladies attend the table. 255 

King. I goe good knight ; Wat, thy oath. 
Ter. My Lord, 
My oath's my honour, my honour is my life; 
My oath is constant, so I hope my wife. Exeunt. 

[Scene 2. 

Horace^ s Study^ . 

Enter Horace In his true attyre, Asinius bearing his 
cloake. 

Asinius. If you flye out, ningle, heer*s your 
cloake ; I thinke it raines too. 



3 1 2 tB^t tHntmsf^tng of (act ii. 

Horace, Hide my shoulders in't. 

Jsin. Troth so th'adst neede, for now thou 
art in thy pee and kue ; thou hast such a villan- 5 
ous broad backe that I warrant th'art able to 
beare away any mans jestes in England. 

Hor. It's well, sir, I ha strength to beare 
yours, mee thinkes ; fore God, you are growne a 
piece of a critist, since you fell into my hands. 10 
Ah, little roague, your wit has pickt up her crums 
prettie and well. 

j^sin. Yes, faith, I finde my wit a the mend- 
ing hand, ningle ; troth, I doe not thinke but to 
proceede poetaster next commencement, if I 15 
have my grace perfectlie j everie one that confer 
with me now, stop their nose in merriment, and 
sweare I smell somewhat of Horace ; one calles 
me Horaces ape, another Horaces beagle, and 
such poeticall names it passes. I was but at 20 
barbers last day, and when he was rencing my 
face, did but crie out, fellow, thou makst me 
connive too long, & sayes he. Master Asinius 
Bubo, you have eene Horaces wordes as right as 
if he had spit them into your mouth. 25 

Hor. Well, away, deare Asinius, deliver this 
letter to the young gallant, Druso, he that fell so 
strongly in love with mee yesternight. 

^sin. It's a sweete muske-cod, a pure spic'd- 

23. sayes he. Q, Sayes he sayes hyce. 



Scene n.j tE^fje l^umorous? jaoec 3 1 3 

gull; by this feather, I pittie his ingenuities ; but 30 
hast writ all this since, ningle ? I know thou 
hast a good running head and thou listest. 

Hor. Foh, come, your great belly'd wit must 
long for every thing too. Why, you rooke, I have 
a set of letters readie starcht to my hands, which 35 
to any fresh suited gallant that but newlie 
enters his name into my rowle, I send the next 
morning, ere his ten a clocke dreame has rize 
from him, onelie with claping my hand to't, 
that my novice shall start, ho, and his haire stand 40 
an end, when hee sees the sodaine flash of my 
writing. What, you prettie, diminutive roague, 
we must have false fiers to amaze these spangle 
babies, these true heires of Ma[j/^r] Justice Shal- 
low. 

Jstn. I wod alwaies have thee sawce a foole 
thus. 

Hor. Away, and, stay: heere be epigrams 
upon Tucca, divulge these among the gallants ; 
as for Crispinus, that Crispin-asse and Fannius 50 
his play-dresser, who (to make the muses beleeve 
their subjects eares were starv'd, and that there 
was a dearth of poesie) cut an innocent Moore 
I'th middle, to serve him in twice, & when he 
had done, made Poules-worke of it ; as for these 55 
twynnes these poet-apes. 
Their mimicke trickes shall serve 



3 1 4 tlTlje tHntmsfflfing of [act n. 

With mirth to feast our muse, whilst their ownc 
starve. 

Jsin, Well, ningle, He trudge, but where's 
the randevow ? 

Hor. Well thought off, marie, at Sir Vaughans 60 
lodging, the Welsh knight. I have composed a 
love-letter for the gallants worship, to his Rosa- 
mond the second, Mistris Miniver, because she 
does not thinke so soundly of his lame English 
as he could wish ; I ha gull'd his knight-ship 65 
heere to his face, yet have given charge to his 
wincking understanding not to perceive it: nay, 
Gods so, away, deare Bubo. 

Jsin. I am gone. Exit. 

Hor. The muses birdes, the bees, were hiv'd 

and fled, 7q 

Us in our cradle, thereby prophecying, 
That we to learned eares should sweetly singy 
But to the vulger and adulterate braine 
Should loath to prostitute our virgin straine. 
No, our sharpe pen shall keep the world in awe. 75 
Horace, thy poesie wormwood wreathes shall 

weare. 
We hunt not for mens loves but for their feare. 

Exit, 



Scene IJ ^^0 i^UmOtOUS? ^Ott 21 S 



y. 



ct III. Scene L 



The House of Sir ^intilian ShorthoseJ^ 
Enter Sir Adam and Miniver, 

Miniver. O, Sir Adam Prickshaft, you are a 
the bow hand wide a long yard, I assure you ; 
and as for suitors, trueJie they all goe downe with 
me, they have all one flat answere. 

Sir Adam. All, widdow ? Not all. Let Sir Adam 5 
bee your first man still. 

Enter Sir Quintilian. 

Sir ^intilian. Widdow, art stolne from table } 
I, Sir Adam, 
Are you my rivall ? Well, flye faire y'are best ; 
The King's exceeding merrie at the banquet ; 
He makes the bride blush with his merrie words, 10 
That run into her eares ; ah, he's a wanton, 
Yet I dare trust her, had he twentie tongues, 
And everie tongue a stile of majestic. 
Now, widdow, let me tell thee in thine eare, 
I love thee, widdow, by this ring; nay, weare it. 15 

Min. He come in no rings, pardie. He take 
no golde. 

Sir Adam. Harke in thine eare : take me, I am 
no golde. 



3 1 6 tlT^e tmntrusfflfing of [act in. 

Enter Sir Vaughan and Peter Flash. 

Sir Vaughan, Master Peter Flash, I will grope 
about Sir Quintilian for his terminations touch- 
ing and considering you. 20 

Flash. I thanke your worship, for I have as 
good a stomacke to your worship as a man 
could wish. 

Sir Vaughan. I hope in God a mightie, I 
shall fill your stomack, Master Peter. What, two 15 
upon one, sentlemen ! Mistris Miniver, much 
good doo't you. Sir Adam — 

Sir ^int. Sir Vaughan, have you din'd well, 
Sir Vaughan ? 

Sir Vaughan. As good seere as would make 30 
any hungrie man (and a were in the vilest prison 
in the world) eate and hee had anie stomacke. 
One word, Sir Quintilian, in hugger mugger; 
heere is a sentleman of yours. Master Peter 
Flash, is tesirous to have his blew coate pul'd 35 
over his eares ; and — 

Flash. No, Sir, my petition runs thus, that 
your worshippe would thrust mee out of doores, 
and that I may follow Sir Vaughan. 

Sir Vaughan. I can tell you. Master Flash, 40 
and you follow mee, I goe verie fast ; I thinke 
in my conscience,! am one of the lightest knights 
in England. 

26-27 of^' ' ' • -^dam. Q, one Sentlemen } Mistris Miniver, 
much good doo^t you Sir Adam. 



Scene I.] ^^^ J^UUtOrOU^ ^Ott 3 1 7 

F/ash. It's no matter, sir, the Flashes have 
ever bin knowne to be quicke and h'ght enough. 45 

Sir ^int. Sir Vaughan, he shal follow you, 
he shall dog you, good Sir Vaughan. 
Enter Horace walkifig. 
Sir Vaughan, Why then, Peter Flash, I will 
set my foure markes a yeare and a blew coate 
upon you. ^^ 

Flash. Godamercy to your worship, I hope 
you shall never repent for me. 

Sir Vaughan. You beare the face of an honest 
man, for you blush passing well, Peter; I will 
quench the flame out of your name, and you 55 
shall be christned Peter Salamander. 

Flash. The name's too good for me, I thanke 
your worship. 

Sir Vaughan. Are you come. Master Horace ? 
You sent mee the coppie of your letters counte- 60 
nance, and I did write and read it : your wittes 
truelie have done verie valliantlie : tis a good in- 
ditements : you ha put in enough for her, ha you 
not ? ^ 

Hor. According to my instructions. 65 

Sir Vaughan. Tis passing well. I pray. Master 

Horace, walke a little beside your selfe; I will 

turne upon you incontinent. 

Sir ^int. What gentleman is this in the 

mandilian, a soldyer ? 



3 1 8 tETlje tantrusfgmg of [act m. 

Sir Vaughan. No, tho he has a very bad face 
for a souldier, yet he has as desperate a wit as 
ever any scholler went to cuffes for; tis a sentle- 
man poet; he has made rimes called thalamimums, 
for M. Pride-groome. On urd, widdow. 75 

Sir ^int. Is this he ? Welcome, sir, your 
name ? Pray you walke not so statelie, but be 
acquainted with me boldlie ; your name, sir ? 

Hor. Quintus Horacius Flaccus. 

Sir ^lint. Good Master Flappus, welcome. 8o 
He walkes up and downe. 

Sir Vaughan. Mistris Miniver, one urde in 
your corner heere ; I desire you to breake my 
armes heere, and read this paper. You shall 
feele my mindes and affections in it, at full and 
at large. 85 

Min. He receive no love libels, perdy, but by 
word a mouth. 

Sir Vaughan. By Sesu, tis no libell, for heere 
is my hand to it. 

Min. He ha no hand in it. Sir Vaughan, He 90 
not deale with you. 

Sir Vaughan. Why then, widdow. He tell 
you by word a mouth my devices. 

Min. Your devices come not neere my mouth. 
Sir Vaughan. Perdy, I was upon a time in the 9' 
way to marriage, but now I am turn'd a tother 
side, I ha sworne to leade a single and simple life. 



Scene I] ^t^t ^UmOrOU0 ^Ott 3 1 9 

Sir Adam, She has answer'd you, Sir Vaughan. 

Sir Vaughan. Tis true, but at wrong weapons, 
Sir Adam. Will you be an asse,M!Stris Minivers ? loo 

Min. If I be, you shall not ride me. 

Sir Vaughan. A simple life ! by Sesu, tis the 
life of a foole, a simple life ! 

Sir ^int. How now. Sir Vaughan ? 

Sir Vaughan. My braines has a little fine 105 
quawme come under it, and therefore, Sir Adam, 
and Sir Quintilian, and mistris Miniver caps, 
God bo'y. 

Jll. Good Sir Vaughan. 

Sir Vaughan. Master Horace, your inventions no 
doe her no good in the Universalities ; yet heere 
is two shillings for your wittes ; nay, by Sesu, 
you shall take it iPt were more. Yonder bald 
Adams is put my nose from his joynt ; but, 
Adam, I will be even to you; this is mycogita-115 
tions, I will indite the ladies & Miniver caps to a 
dinner of plumbes, and I shall desire you, M. 
Horace, to speake or raile ; you canraile, I hope 
in God a mighty. 

Hor. You meane to speake bitterlie. 120 

Sir Vaughan. Right, to spitte bitterly upon 
baldnes, or the thinnes of haire ; you sail eate 
downe plumbes to sweeten your mouth, and 
heere is a good ansell to defend you. Peter Sala- 
mander, follow me. 125 



320 ^\)t tl]Jntrus?0ing of [act m. 

Flash. With hue and crie, and you will, sir. 

Sir Vaughan. Come, M. Horace, I will goe 
pull out the ladies. 

Hor, And He set out my wits, baldnes the 
theame : 
My words shall flow hye in a silver stream. 130 
Exeunt [^Horace, Sir Vaughan and FlasF^ . 
Enter Tucca brushing off the crumbes. 

Tucca, Wher's my most costly and sumptu- 
ous Shorthose \ 

Sir ^int. Is the King risen from table, 
Captaine Tucca? 

Tuc. How ? risen ? no, my noble Quintilian, 135 
kings are greater men then we knights and cav- 
alliers, and therefore must eate more then lesser 
persons ; Godamercy, good Dives, for these 
crummes. How now ? has not Frier Tucke 
din'd yet? he falles so hard to that oyster-pye 140 
yonder. 

Sir ^uint. Oyster-pye, Captaine ? ha, ha, he 
loves her, and I love her and feare both shall 
goe without her. 

Tuc. Dost love her, my finest and first partes 
of the Mirrour of Knighthood ? hange her, she 
lookes like a bottle of ale, when the corke flyes 
out and the ale fomes at mouth. Shee lookes, my 
good button-breech, like the signe of Capricorne, 
or like Tiborne when it is cover'd with snow. 150 



Scene I] ^\)t J^UttlOrOU^ ^Oet 321 

Sir ^int. All's one, for that she has a vizard 
in a bagge will make her looke like an angell; 
I wod I had her, upon condition I gave thee 
this chaine, manlie Tucca. 

Tuc. I? saist thou so, Friskin ? I have hen 55 
ath hip for some causes. I can sound her, she'll 
come at my becke. 

Sir ^int. Wod I could sound her too, noble 
commaunder. 

Tuc. Thou shalt doo't; that Lady ath Lake 160 
is thine. Sir Tristram. Lend mee thy chaine, doe, 
lend it. He make her take it as a token. He lincke 
her unto thee ; and thou shalt weare her glove 
in thy worshipfull hatte like to a leather brooch. 
Nay, and thou mistrusts thy coller, be tyed in'ti65 
still. 

Sir ^in. Mistrust, Captaine ? no, heere tis, 
give it her if she'll take it, or weare it thy selfe, 
if shee'll take mee. He watch him well enough 
too. 170 

Tuc, No more. He shoote away yonder Prick- 
shaft, and then belabour her, and flye you after 
yonder cucko: dost heere me, my noble gold- 
finch? — 

Sir ^int. No more. 175 

Tuc. How dost thou, my smug Belimperia? 
how dost thou ? Hands off, my little bald Der- 
ricke, hands ofF. Harke hether, Susanna, beware 



32 2 tB^t tiantm00ing of (act m. 

a these two wicked elders. Shall I speake well 
or ill of thee ? i8o 

Alin. Nay, eene as you please, Captaine, it 
shal be at your choise. 

Tuc. Why well said, my nimble Short-hose. 

Sir ^int. I heare her, I heare her. 

Tuc. Art angry, father time? art angrie be- 185 
cause I tooke mother-winter aside ? He holde 
my life thou art strucke with Cupids birde-bolt, 
my little prickshaft, art ? Dost love that mother 
mumble-crust, dost thou ? Dost long for that 
whim-wham ? 190 

Sir Adam. Wod I were as sure to lye with 
her as to love her. 

Tuc. Have I found thee, my learned Dunce, 
have I found thee ? If I might ha my wil, thou 
shouldst not put thy spoone into that bumble- 195 
broth (for indeede Ide taste her my selfe). No, 
thou shouldst not; yet if her beautie blinde thee, 
she's thine. I can doo't. Thou heardst her say 
eene now it should bee at my choice. 

Sir Adam. She did so. Worke the match and 200 
He bestow — 

Tuc. Not a silke pointe upon mee, little Adam. 
Shee shall bee thy Eeve for lesse then an apple; 
but send, bee wise, send her some token, shee's 
greedie, shee shall take it, doe, send, thou shalt205 
sticke in her (Prickeshaft) but send. 



sciNEi] tETije J^umorou0 ^ott 323 

Sir Adam, Heer's a purse of golde, thinke 
you that wil be accepted ? 

Tuc. Goe to, it shall bee accepted, and twere 
but silver, when that flea-bitten Short-hose 210 
steppes hence. Vanish too, and let mee alone 
with my grannam in Gutter-Lane there and 
this purse of golde. Doe, let me alone. 

Sir ^int. The King, gods Lord, I doe for- 
get the King; 
Widdow, thinke on my wordes, I must be gone 215 
To waite his rising. He returne anone. 

Sir Adam. Stay, Sir Quintilian, He be a 
waiter too. 

Sir ^int, Widdow, wee*ll trust that Captaine 
there with you. Exeunt \_Sir Adam and Sir ^dn-'i-'i.o 
tilian.'\ 

Tuc. Now, now, mother Bunch, how dost 
thou ? What, dost frowne, Queene Gwyniver, 
dost wrinckle ? What made these paire of shittle 
cockes heere ? What doe they fumble for ? He ha 
none of these kites fluttering about thy carkas,225 
for thou shalt bee my West Indyes, and none 
but trim Tucca shall discover thee. 

Min. Discover me? Discoverwhat thou canst 
of me. 

Tuc. What I can ? Thou knowst what I can 230 
discover but I will not lay thee open to the 
world. 



324 ®^e tiantruflffifing of [act m. 

Min. Lay me open to the world ? 

Tuc. No, I will not, my moldie decay'd Char- 
ing-crosse, I will not. 235 

Min. Hang thee, patch-pannell, I am none a 
thy Charing-crosse : I scorne to be crosse to 
such a scab as thou makst thy selfe. 

Tuc. No, tis thou makst me so, my Long 
Mega Westminster, thou breedst a scab, thou — 240 

Min. I ? Dam thee, filthie Captaine, dam thy 
selfe. 

Tuc. My little devill a Dow-gate, He dam 
thee, (thou knowst my meaning) He dam thee 
up, my wide mouth at Bishops-gate. 145 

Min. Wod I might once come to that dam- 
ming. 

Tuc. Why thou shalt, my sweet dame Annis 
a cleere, thou shalt, for He drowne my selfe in 
thee ; I, for thy love, He sinke, I, for thee. 250 

Min. So thou wilt, I warrant, in thy abhomi- 
nable sinnes ; Lord, Lord, howe many filthy 
wordes hast thou to answere for. 

Tuc. Name one, Madge-owlet, name one. He 
answer for none; my words shall be foorth-255 
comming at all times, & shall answer for them 
selves, my nimble Cat-a-mountaine ; they shall, 
Sislie Bum-trincket, for He give thee none but 
suger-candie wordes. I will not, pusse ; goody 
Tripe-wife, I will not. 260 



Scene l] tEtije !^ttmorou0 poet 325 

Min. Why dost call mee such horrible un- 
godlie names then? 

Tuc. He name thee no more, Mother Red- 
cap, upon paine of death, if thou wilt, grimalkin, 
maggot-a-pye, I will not. 265 

Min. Wod thou shouldst wel know, I am 
no maggot, but a meere gentlewoman borne. 

Tuc. I know thou art a gentle, and He nibble 
at thee ; thou shalt be my cap-a-maintenance, & 
He carrie my naked sword before thee, my rev- 270 
erend Ladie Lettice-cap. 

Min. Thou shalt carry no naked swords be- 
fore me to fright me, thou — 

Tuc. Go too, let not thy tongue play so hard 
at hot-cockles; for, Grammer Gurton, I meane^ys 
to bee thy needle. I love thee, I love thee, be- 
cause thy teeth stand like the arches under 
London Bridge, for thou't not turne satyre & 
bite thy husband; no, come, my little cub, doe 
not scorne mee because I goe in stag, in bufFe,28o 
heer*s velvet too ; thou seest I am worth thus 
much in bare velvet. 

Min, I scorne thee not, not I. 

Tuc. I know thou dost not, thou shat see 
that I could march with two or three hundred ^85 
linkes before me, looke here, what ? I could 
shew golde too, if that would tempt thee, but I 
will not make my selfe a gold-smithes stall Ij 



326 XE^^t tlllntm00ina of [Actiii. 

I scorne to goe chain'd, my Ladie ath Hospital!, 
I doe ; yet I will and must bee chain'd to thee. 290 

J^Iin. To mee ? Why, Master Captaine, you 
know that I have my choise of three or foure 
payre of knights, and therefore have small rea- 
son to flye out, I know not how, in a man of 
war. ^95 

Tuc. A man a warre ? Come, thou knowst not 
what a worshipfull focation tis to be a captaines 
wife: "three or four payre of knights"? why, dost 
heare, loane-a-bedlam, lie enter into bond to 
be dub'd by what day thou wilt. When the next 300 
action is layde upon me, thou shalt be ladified. 

Min. You know I am offered that by halfe 
a dozen. 

Tuc. Thou shalt, little Miniver, thou shalt, 
He ha this frock turn'd into a foote-cloth ; and 305 
thou shalt be carted, drawne I meane, coacht, 
coacht, thou shalt ryde jigga-jogge; a hood shall 
flap up and downe heere, and this shipskin-cap 
shall be put off. 

Alin. Nay, perdie. He put off my cap for no 310 
mans pleasure. 

Tuc. Wut thou be proude, little Lucifer? 
Well, thou shalt goe how thou wilt, Maide- 
marian. Come, busse thy little Anthony now, 
now, my cleane Cleopatria ; so, so, goe thy waies, 315 
Alexis secrets, th'ast a breath as sweet as the Rose _ 



Scene I.] tKije H)umorott0 ^oet 327 

that growes by the Beare-garden, as sweete as the 
proud'st heade a garlicke in England : come, wut 
march in to the gentle folkes ? 

Adin. Nay trulie, Captaine, you shall be my 

leader. 3^0 

Tuc, I say, Mary Ambree, thou shalt march 
formost. 
Because He marke how broad th'art in the 
heeles. 
Min, Perdie, I will be set ath last for this 

time. 
Tuc, Why then come, we'll walke arme in 
arme. 
As tho we were leading one another to New- 
gate. 32s 
Enter Blunts Crispinusy and Demetrius, with papers, 
laughing. 
Cris. Mine's of a fashion cut out quite from 

yours. 
Dem. Mine has the sharpest tooth. Yonder 

he is. ' 
Blunt. Captaine Tucca. J// hold up papers. 
Tuc. How now ? I cannot stand to read sup- 
plications now. 
Cris. They're bitter epigrams compos'd on you 
By Horace, 33° 

Dem. And disperst amongst the gallants 
In severall coppies, by Asinius Bubo. 



328 tB\)t WLntmssin^ of [Actiii. 

T^uc. By that live eele ? Read, Lege Legito^ 
read, thou jacke. 
Blunt. Tuccas growne monstrous^ how f rich ? 

that I fear e^ 
He's to be seene for money every where, 335 

Tuc, Why true, shall not I get in my debts ? 
Nay, and the roague write no better, I care hot. 
Farewell, blacke jacke, farewell. 

Cr'is. But, Captaine, heer's a nettle. 

Tuc. Sting me, doe. 

Cm. Tucca's exceeding tall^ and yet not hye^ 34© 
He fights with skilly but does most vilye lye, 

Tuc. Right, for heere I lye now, open, open 
to make my adversarie come on ; and then, sir, 
heere am I in's bosome ; nay, and this be the worst, 
I shal hug the poore honest face-maker, lie love 345 
the little atheist, when he writes after my com- 
mendation, another whip? come, yerke me. 

Dem. Tucca will bite^ how ? growne satiricall F 
No^ he bites tables,, for he feedes on all. 

Tuc. The whoreson cloven-foote devill in 

mans apparell lyes. 35° 

There stood above forty dishes before me to day, 
That I nere toucht, because they were empty. 

Min, I am witnes, young gentlemen, to that. 

Tuc. Farewell, stinckers, I smel thy mean- 
ing, screech-owle, I doe, tho I stop my nose; 355 
and, sirra poet, we'll have thee untrust for this; 
come, mother mum-pudding, come. Exeunt, 



scENr II.] arJif l^umorott0 ^ott 329 

r Scene 2.1 

Trumpet sound afiorish, and then a sennate : enter Kinz 
With Ccelestine, Sir Walter Terrill, Sir Quinti/ian, 
Z ; f ' ^^''''' {Crispinus, Demetrius, Phikca/ia, 
Dtcache^ and other Ladies and attendants. Whilst the 
trumpets sound, the King takes his leave of the Bride- 
groome, and Sir Quint ilian, and last of the Bride. 

King. My song of parting doth this burden 
beare ; 
A kisse, the ditty, and I set it heere. 
Your lips are well in tune, strung with delight. 
By this faire bride remember soone at night • 
Sir Walter. 

Terrill. My Leige Lord, we all attend 
1 he time and place. 

King. Till then my leave commend. lExit.! 
They bring him to the doore : enter at another doore Sir 
Vaughan. 
Sir Vaughan, Ladies, I am to put a verie 
easie suite upon you all, and to desire you to 
fill your little pellies at a dinner of plums be- 
hmde noone ; there be suckets, and marmilads, lo 
and marchants, and other long white plummes 
that faine would kisse your delicate and sweet 
lippes ; I indite you all together, and you espe- 
cially, my Ladie Pride. What doe you sale for 
your selles ? for I indite you all. ' 15 



330 tH^^t Wintm&ifinQ of iacthi. 

Celestine. I thanke you, good Sir Vaughan, 
I will come. 

Sir Vaughan. Say, sentlewomen, will you 
stand to me too ? 

All. Wee'll sit with you, sweet Sir Vaughan. 20 

Sir Vaughan. God a mightie plesse your faces, 
and make your peauties last, when wee are all 
dead and rotten : — you all will come. 

I Lady. All will come. 

Sir Vaughan. Pray God that Horace bee in 25 
his right wittes to raile now. Exit. 

Crispinus. Come, ladie, you shall be my daun- 
cing guest 
To treade the maze of musicke with the rest. 

Demetrius. He lead you in. 

Dicache. A maze is like a doubt : 

Tis easie to goe in, hard to get out. 3° 

Blunt. We follow close behinde. 

Philocalia. That measure's best. 

Now none markes us, but we marke all the rest. 

Exeunt. 
Exeunt all saving Sir Quintiliany Calestine, 
and Sir Walter TerrilL 

Ter. Father, and you, my bride, that name 
to day. 
Wife comes not till to morrow, but, omitting 
This enterchange of language, let us thinke 35 

35 enterchange of language. Q, enterchanging of Languages. 
See Ad Lectorem, p. 270, 20. 



scENiE n.i tlD^e i^umorousf poet 331 

Upon the King and night, and call our spirits 
To a true reckoning: first to arme our wittes 

With compleat Steele of judgement, and our tongs 
With sound attillery of phrases ; then 
Our bodies must bee motions, mooving first 40 
What we speake ; afterwards, our very knees 
Must humbly seeme to talke,and suteour speech, 
For a true furnisht cortyer hath such force. 
Though his tonge faints, his very legs discourse. 

Sir ^intilian. Sonne TerrilI,thou hast drawne 

his picture right, 45 

For hee's noe full-made courtier, nor well strung. 

That hath not every joynt stucke with a tongue. 

Daughter, if ladies say "that is the bride, that's 

she," 
Gaze thou at none, for all will gaze at thee. 

CeL Then, O my father, must I goe ? O my 
husband, 50 

Shall I then goe ? O my selfe, will I goe ? 

Sir ^uint. You must. 

"^^r. You shall. 

^^^' I will, but give me leave 

To say I may not, nor I ought not. Say not 
Still, I must goe. Let me intreate I may not. 

Ter. You must and shall. I made a deede of 

And gave my oath unto the King. I swore 
By thy true constancy. 

42 sute our speech. Q, sute out speech. 



332 tirtie tmntmflf0ing of [acthi. 

CeL Then keep that word 

To sweare by, O let me be constant still. 

Ter. What shall I cancell faith, and breake 

my oath ? 
CeL I f breaking constancie, thou breakst them 

both. 
Ter. Thy constancie no evill can pursue. 
CeL I may be constant still, and yet not true. 
Ter. As how ? 

CeL As thus, by violence detained, 

They maybe constant still, that are constraint. 

Ter. Constrain'd ? that word weighs heavy, 

yet my oath 

Weighes downe that word; the Kinges thoughts 

are at oddes. 
They are not even ballanst in his brest; 
The King may play the man with me ; nay more, 
Kings may usurpe; my wife's a woman ; yet 
Tis more then I know yet, that know not her. 
If she should proove mankinde, twere rare, fye, 

fye. 
See how I loose my selfe, amongst my thoughts. 
Thinking to finde my selfe; my oath, my oath. 
Sir ^int. I sweare another, let me see, by 
what. 
By my long stocking, and my narrow skirtes, 
Not made to sit upon, she shall to court. 
I have a tricke, a charme, that shall lay downe 



Scene III tETj^e J^umorousi poet 333 

The spirit of lust, and keep thee undeflowred, 
Thy husbands honor sav'd, and the hot King, 
Shall have enough too. Come,atricke,a charme. g© 

Exit. 
Cel. God keep thy honour safe, my bloud 

from harme. 
Ter, Come, my sicke-minded bride, He teach 
thee how 
To relish health a little : taste this thought, 
That when mine eyes serv'd loves commission 
Upon thy beauties, I did seise on them 85 

To a kings use ; cure all thy griefe with this. 
That his great seale was graven upon this ring, 
And that I was but steward to a king. Exeunt, 



334 tlTlie mntmsfsing of [act iv. 



[y^cf IV. Scene I.] 

[Banquet-Hall in the House of Sir FaughanJ] 

A banquet set out : Enter Sir Vaughan, Horace y Asinius 
Bubo, Lady Petula, Dicache, Philocalia, Mistris 
Miniver and Peter Flash. 

Sir Vaughan, Ladies and sentlemen, you are 
almost all welcome to this sweet nuncions of 
plums. 

Dichache. Almost all, Sir Vaughan ? why to 
which of us are you so niggardly, that you cut 5 
her out but a peice of welcome ? 

Sir Vaughan. My interpretations is that al- 
most all are welcome, because I indited a brace 
or two more that is not come. I am sorrie, my 
Lady Pride, is not among you. lo 

Asin. Slid, he makes hounds of us, ningle, a 
brace quoth a ? 

Sir Vaughan. Peter Salmanders, draw out the 
pictures of all the joynt stooles, & ladies, sit 
downe upon their wodden faces. »5 

Flash. I warrant, sir. He give everie one of 
them a good stoole. 

Sir Vaughan. Master Horace, Master Horace, 
when I pray to God, and desire in hipocritnes 



Scene I.] ^^t J^UtttOrOU^ JBOtt 335 

that baid Sir Adams were heer, then, then, then 20 
begin to make your railes at the povertie and 
beggerly want of haire. 

Hor. Leave it to my judgement. 

Sir Vaughan. M. Bubo, sit there, you and 
I wil thinke upon our ends at the tables ; M. 25 
Horace, put your learned bodie into the midst 
of these ladies ; so tis no matter to speake graces 
at nuncions, because we are all past grace since 
dinner, 

Jsin. Mas, I thanke my destinie I am not 30 
past grace, for by this hand full of carrawaies, I 
could never abide to say grace. 

Die. Mistris Miniver, is not that innocent 
gentleman a kinde of foole ? 

Min. Why doe you aske. Madam ? 35 

Die. Nay, for no harme : I aske because I 
thought you two had been of acquaintaine. 

Min, I thinke he's within an inch of a foole. 

Die. Madam Philocalia, you sit next that 
spare gentleman, wod you heard what Mistris 40 
Miniver saies of you. 

Philacalia. Why, what saies she. Madam 
Dicache ? 

Die. Nay nothing, but wishes you were mar- 
ried to that small timber'd gallant. 45 

20 then, then. Q, then, then then begin. 
27 io tis, Q^, so, tis. 



336 * tEPtie ^ntru60ing of [Activ. 

Phil. Your wish and mine are twinnes ; I 
wish so too, for then I should be sure to lead 
a merrie life. 

Jsin. Yes, faith, ladie, Ide make you laugh ; 
my bolts now and then should be soone shot ; 50 
by these comfits, weed let all slide. 

Petula. He takes the sweetest oathes that 
ever I heard a gallant of his pitch sweare ; by 
these comfits, & these carrawaies, I warrant it 
does him good to sweare. 55 

Jsin. Yes, faith, tis meate and drinke to me. 
I am glad, Ladie Petula, (by this apple) that they 
please you. 

Sir Vaughan. Peter Salamanders, wine ; I be- 
seech you. Master Asinius Bubo, not to sweare 60 
so deeplie, for there comes no fruite of your 
oathes ; heere, ladies, I put you all into one 
corners together, you shall all drinke of one cup. 

Asin. Peter, I prethee, fill me out too. 

Flash. Ide fling you out too, and I might ha 65 
my will ; a pox of all fooles. 

Sir Vaughan. Mistris Minivers, pray bee 
lustie, wod Sir Adams Prickshaft stucke by you, 

Hor. Who, the balde knight. Sir Vaughan ? 

Sir Vaughan, The same, M. Horace, he that 7® 
has but a remnant or parcell of haire, his crowne 
is dipt and par'd away; me thinkes tis an ex- 



75 



Scene L] Wl^t ^UmOtOM^ ]^Ott 337 

cellent quallitie to bee balde, for, and there stucke 
a nose and two nyes in his pate, he might weare 
two faces under one hood, 

Jsin. As God save me, la, if I might ha my 
will, Ide rather be a balde gentleman then a 
hairy, for I am sure the best and tallest yeomen 
in England have balde heads : me thinkes haire 
is a scurvie lowsie commodity. 80 

Hor. Bubo, heerein you blaze your ignorance. 

Sir Vaughan. Pray stop and fill your mouthes, 
and give M. Horace all your eares. 

Hor. For^ if of all the bodies parts ^ the head 
Be the most royall : if discourse., wit., judgement ., 85 
And all our understanding faculties 
Sit there in their high Court of Parliament., 
Enacting lawes to sway this humorous world., 
This little He of Man., needes must that crowne., 
Which stands upon this supreame head., he fair e., 90 
And he Ide invaluable., and that crowned the Haire : 
The head that wants this honour stands awry., 
Is bare in name and in authority. 

Sir Vaughan. He meanes balde-pates, Mistris 
Minivers. 95 

Hor, Haire, tis the roabe which curious nature 
weaves., 
To hang upon the head., and does adorne 
Our bodies in the first houre we are home: 
God does bestow that garment : when we dye.^ 



338 tlT^e ZianCru00ing of [act iv. 

That (like a soft and silken canopie^ loo 

Is still spred over us ; In spight of death ^ 

Our hayre growes in our grave^ and that alone 

Lookes fresh ^ when all our other beauty s gone. 

The excellence ^ Haire in this shines cleere^ 

That the four e Elements take pride to weare 105 

The fashion of it: when Fire most bright does 

burne^ 
The fames to golden lockes doe strive to turne ; 
When her lascivious armes the Water hurles 
About the shoares wast^ her sleeke head she curies ; 
And rorid cloudes^ being suckt into the Ayre, 1 10 

When downe they melt,, hangs like fine silver hayre. 
Tou see the Earth {whose head so oft is shorne) 
Frighted to feele her lockes so rudely torne^ 
Stands with her haire an end^ and (thus afraide^ 
Turnes every haire to a greene naked blade. 1 1 5 

Besides., when (strucke with griefe) we long to dye^ 
We spoile that most., which most does beautifie.. 
We rend this Head-tyre off'. I thus conclude .^ 
Cullors set cullors out ; our eyes Judge right ^ 
Of vice or vertue by their opposite., 120 

So., if fair e haire to beauty ad such grace., 
Baldnes must needes be ugly., vile., and base. 

Sir Vaughan. True, M. Horace, for a bald 
reason is a reason that has no haires upon't, a 
scurvy scalded reason. 125 

Min. By my truely, I never thought you 



Scene I.] ^ETlje J^UUtOrOUtf I^Oet 339 

could ha pickt such strange things out of haire 
before. 

Jsin. Nay, my ningle can tickle it, when hee 
comes too't. 130 

Min. Troth, I shall never bee enameld of a 
bare-headed man for this, what shift so ever I 
make. 

Sir Vaughan, Then, Mistris Miniver, S. 
Adams Prickshaft must not hit you. Peter, take 135 
up all the cloathes at the table and the plums. 
Enter Tucca and his boy. 

Tuc. Save thee, my little worshipfull harper ; 
how doe yee my little cracknels? how doe 
yee ? 

Sir Vaughan. Welcome, M. Tucca, sit and 140 
shoote into your belly some suger pellets. 

Tuc. No, godamercy Cadwallader, how doe 
you, Horace? 

Hor, Thankes, goode Captaine. 

Tuc. Wher's the sering thou earnest about 145 
thee ? O, have I found thee, my scowring-sticke ; 
what's my name, Bubo ? 

Asin. Wod I were hang'd if I can call you 
any names but Captaine and Tucca. 

Tuc. No, Fye'st, my name's Hamlet revenge : 150 
thou hast been at Parris garden hast not ? 

Hor. Yes, Captaine, I ha plaide Zulziman 
there. 



340 tB\)t tiantrusf^ing of [act iv. 

Sir Vaughan. Then, M. Horace, you plalde 
the part of an honest man. '55 

Tuc. Death of Hercules, he could never play 
that part well in's life, no Fulkes you could not : 
thou call'st Demetrius jorneyman poet, but thou 
putst up a supplication to be a poore jorneyman 
player, and hadst beene still so, but that thou i6o 
couldst not set a good face upon't : thou hast 
forgot how thou amblest (in leather pilch) by a 
play-wagon, in the high way, and took'st mad 
Jeronimoes part, to get service among the mim- 
ickes : and, when the Stagerites banisht thee into 165 
the He of Dogs, thou turn'dst ban-dog (villanous 
Guy) & ever since bitest, therefore I aske if 
th'ast been at Parris-garden, because thou hast 
such a good mouth ; thou baitst well, read, lege^ 
save thy selfe and read. 170 

Hor. Why, Captaine, these are epigrams 
compos'd on you. 

Tuc. Goe not out, farding candle, goe not out, 
for, trusty Damboys, now the deed is done. He 
pledge this epigram in wine. He swallow it, I, yes. 175 

Sir Vaughan. God blesse us, will he be drunke 
with nittigrams now. 

Tuc. So, now arise sprite ath buttry; no, 
herring-bone. He not pull thee out ; but arise, 
deere Eccho, rise, rise, devill, or He conjure 180 
thee up. 



Scene I.] tE^lje t^ttttTOrOUS; JBOft 34 1 

Min, Good Master Tucca, lets ha no conjur- 
ing heere. 

Sir Vaughan. Uddes bloud, you scald gouty 
Captaine, why come you to set encombrancesigj 
heere betweene the ladies ? 

Tuc. Be not so tarte my precious Metheglin, 
be not ; (my old whore a Babilon, sit fast.) 

Min. O Jesu, if I know where abouts in 
London Babilon stands. 

Tuc. Feede and be fat, my faire Calipolis, 
stir not, my beauteous wriggle-tailes, He dis- 
ease none of you. He take none of you up, but 
onely this table-man, I must enter him into 
some filthy sincke point, I must. 195 

Hor, Captaine, you do me wrong thus to 
disgrace me. 

Tuc. Thou thinkst thou maist be as sawcy 
with me as my buffe jerkin, to sit upon me, dost ? 

Hor. Dam me, if ever I traduced your name, zoo 
What imputation can you charge me with ? 

Sir Vaughan. Sblud, I, what coputations, can 
you lay to his sarge? answer, or, by Sesu, He 
canvas your coxcombe, Tucky. 

Min. If they draw, sweet hearts, let us shift 205 
for our selves. 

Tuc. My noble swaggerer, I wil not fall out 
with thee; I cannot, my mad cumrade, iinde in 
my heart to shed thy bloud. 



342 tC|)e ^ntru00mg of [activ. 

Sir Vaughan. Cumrade ? by Sesu, call meiio 
cumrade againe, and ile cumrade ye about the 
sinnes and shoulders ; ownds, what come you 
to smell out heere? did you not dine and feede 
horribly well to day at dinner, but you come to 
munch heere, and give us winter-plummes ? 1 215 
pray depart, goe, marse, marse, marse out a 
doores. 

Tuc. Adew, Sir Eglamour, adew, Lute- 
stringe, Curtin-rod, Goose-quill ; heere, give 
that full-nos'd skinker, these rimes, & harke,22o 
Ile tagge my codpeece point with thy legs, spout- 
pot, Ile empty thee. 

Jsin. Dost threaten mee ? Gods lid, Ile binde 
thee to the good forbearing. 

Sir Vaughan. Will you amble, Hobby-horse, 225 
will you trot and amble ? 

Tuc. Raw artichocke, I shall sauce thee. 

Exit. 

Min. I pray you. Master Tucca, will you 
send me the five pound you borrowed on me; 
O, you cannot heare now, but lie make you 230 
heare me and feele me too in another place, to 
your shame, I warrant you, thou shalt not conny- 
catch mee for five pounds ; he tooke it up. Sir 
Vaughan, in your name, hee swore you sent for 
it to mum withall, twas five pound in gold, as 235 
white as my kercher. 



scEXE L] tETfje lonmotons poet 343 

Sir Vaughan. Ownds, five pound in my name 
to mum about withall ? 

Min. I, to mum withall, but hee playes mum- 
budget with me. 240 

*S^> Vaughan. Peter Salamander, tye up your 
great and your little sword, by Sesu, He goe sing 
him while tis hot. He beate five pound out of 
his leather pilch. Master Horace, let your wittes 
inhabite in your right places; if I fall sansomely245 
upon the widdow, I have some cossens Garman 
at Court, shall beget you the reversion of the 
Master of the Kings Revels, or else be his Lord 
of Mis-rule nowe at Christmas : Come ladyes, 
whoreson stragling captaine, He pound him. 250 

Exeunt. 
Manet Horace and Asinius. 

Hor. How now ? what ail'st thou, that thou 
look'st so pale? 

Asm. Nay nothing, but I am afraide the Welsh 
Knight has given me nothing but purging com- 
fits : this captaine stickes pockily in my stom- 
ack; read this scroule, he sales they'r rimes, and 255 
bid me give them you. 

Hor. Rimes ? tis a challenge sent to you. 

Asm. To me ? 

Hor. He sales heere you divulg'd my epi- 
grams. 

Asin, And for that dares he challenge me ? 



344 ^^t tiantru06ing of [act iv. 

Hor. You see he dares, but dare you answer 260 
him ? 

Jsin. I dare answer his challenge, by word of 
mouth, or by writing, but I scorne to meete him, 
I hope he and I are not paralels. 

Hor. Deere Bubo, thou shalt answere him ; 
our credites 265 

Lye pawn'd upon thy resolution. 
Thy vallor must redeeme them; charge thy 

spirits 
To waite more close and neere thee: if he kill 

thee. 
He not survive; into one lottery 
We'll cast our fates ; together live and dye. a?^ 

j^sin. Content, I owe God a death, and if he 
will make mee pay't against my will. He say tis 
hard dealing. Exeunt, 

\ Scene 2.1 

[y/ Street r\ 

Enter Sir Adamy Tucca, with two pistols by his sides, 
his boy laden with swords and bucklers. 

Tuc. Did Apolloes freeze gowne watchman 
(boy, dost heare Turkie-cockes tayle, have an 
eye behinde, least the enemie assault our rere- 
ward) on, proceede, Father Adam; did that same 



y 



Scene IL] tE^i)t f^UmOtOUSi ^Ott 345 

tiranicall-tongu'd rag-a-muffin Horace, turne 5 
bald-pates out so naked ? 

Sir Adam. He did, and whipt them so with 
nettles that 
The widdow swore that a bare-headed man 
Should not man her; the Ladie Petula 
Was there, heard all, and tolde me this. 10 

Tuc, Goe too. Thy golde was accepted, it 
was, and she shall bring thee into her Paradice, 
she shall, small Adam, she shall. 

Sir Adam. But how ? but how, Capten } 

Tuc. Thus, goe, cover a table with sweet 15 
meates, let all the gentlewomen and that same 
Pasquils-mad-cap (mother Bee there) nibble, bid 
them bite : they will come to gobble downe 
plummes ; then take up that paire of basket hikes, 
with my commission, I mcane Crispinus and Fan- 20 
nius ; charge one of them to take up the buck- 
lers against that hayre-monger Horace, and 
have a bout or two in defence of balde-pates : 
let them cracke everie crowne that has haire on't : 
goe, let them lift up baldenes to the skie, and 25 
thou shalt see, twill turne Minivers heart quite 
against the haire. 

Sir Adam. Excellent, why then, M. Tuc- 
ca 

Tuc. Nay, whir, nymble Prickshaft ; whir, 30 
away, I goe upon life and death, away, flie Scan- 
derbag flie. Exit \Sir Adam.'] 



346 W^t WLnttni&in^ of [activ. 

Enter Asinius Bubo, and Horace aloof e. 

Boy. Arme, Captaine, arme, arme, arme, the 
foe is come downe. Tucca offers to shoote. 

Jsin. Hold, Capten Tucca, holde, I am Bubo, 35 
& come to answer any thing you can lay to my 
charge. 

Tuc. What, dost summon a parlie my little 
drumsticke ? tis too late ; thou seest my red flag 
is hung out : He fill thy guts with thine owne 40 
carrion carcas, and then eate them up in steed 
of sawsages. 

Jsin. Use me how you will; I am resolute, for 
I ha made my will. 

Tuc. Wilt fight Turke-a-ten-pence ? wilt 45 
fight then ? 

jfsin. Thou shalt finde He fight in a godly 
quarrell, if I be once fir'd. 

Tuc. Thou shalt not want fire. He ha thee 
burnt when thou wilt, my colde Cornelius : but 50 
come: Re spice funem ; looke, thou seest ; open 
thy selfe, my little cutlers shoppe, I challenge 
thee thou slender gentleman, at fourc sundrie 
weapons. 

Jsin. Thy challenge was but at one, and He 55 
answere but one. 

Boy. Thou shalt answer two, for thou shalt 
answer me and my Capten. 

Tuc, Well said, Cockrel, out-crowe him : art 



Scene IL] ^\)t ^UXtiOtOU^ ^Ott 347 

hardy, noble Huon ? art magnanimious, licke- 60 
trencher ? looke, search least some lye in am- 
bush, for this man at armes has paper in's bellie, 
or some friend in a corner, or else hee durst not 
bee so cranke. 

Boy. Capten, Capten, Horace stands sneaking 65 
heere. 

Tuc, I smelt the foule-fisted morter-treader: 
come, my most damnable fastidious rascal, I 
have a suite to both of you. 

y^sin. O holde, most pittifull Captaine, holde. 70 

Hor. Holde, Capten, tis knowne that Horace 
is valliant, & a man of the sword. 

Tuc. A gentleman or an honest cittizen shall 
not sit in your pennie-bench theaters, with his 
squirrell by his side cracking nuttes, nor sneake 75 
into a taverne with his mermaid, but he shall be 
satyr'd, and epigram'd upon, and his humour 
must run upo'th stage : you'll ha Every Gentle- 
man in's humour^ and Every Gentleman out on^s 
humour: wee that are heades of legions and bandes, 80 
and feare none but these same shoulder-clappers, 
shall feare you, you serpentine rascall. 

Hor. Honour'd Capten 

Tuc. Art not famous enough yet, my mad Ho- 
rastratus, for killing a player, but thou must eate 85 
men alive ? thy friends ? Sirra wilde-man, thy pa- 
trons ? thou Anthropophagite, thy Mecaenasses .'' 



348 XI^\)t Iiantru00ing of [act iv. 

Hor. Captaine, I'm sorry that you lay this 

wrong 
So close unto your heart : deare Captaine, thinke 
I writ out of hot bloud, which (now) being colde, 90 
I could be pleas'd (to please you) to quafFe 

downe 
The poyson'd inke, in which I dipt your name. 
Tuc. Saist thou so, my palinodicall rimester ? 
Hor. Hence forth He rather breath out soloe- 

cismes 
(To doe which Ide as soone speake blasphemie) 95 
Than with my tongue or pen to wound your 

worth, 
Beleeve it, noble Capten ; it to me 
Shall be a crowne, to crowne your actes with 

praize. 
Out of your hate, your love He stronglie raize. 

Tuc. I know now th'ast a number of these 100 
^iddits to binde men to'th peace : tis thy fash- 
ion to flirt inke in everie mans face, and then to 
craule into his bosome, and damne thy selfe to 
wip't off agen, yet to give out abroad, that hee 
was glad to come to composition with thee : 1 105 
know, Monsieur Machiavell, tis one a thy rules ; 
My long-heel'd troglodite, I could make thine 
eares burne now, by dropping into them all those 
hot oathes, to which thy selfe gav'st voluntarie 
fire, (whe thou wast the man in the moone) that no 



scENi iLj ®^e J^umoroutf poet 349 

thou wouldst never squib out any new salt-peter 
jestes against honest Tucca, nor those maligo- 
tasters, his poetasters; 1 could Cinocephalus, but 
I will not, yet thou knowst thou hast broke those 
oathes in print, my excellent infernall. 115 

Hor. Capten 

Tuc. Nay, I smell what breath is to come 
from thee. Thy answer is that there's no faith 
to be helde with heritickes & infidels, and ther- 
fore thou swear'st anie thing: but come, lend 120 
mee thy hand, thou and I hence forth will bee 
Alexander and Lodwicke, the Gemini, sworne 
brothers ; thou shalt be Perithous and Tucca 
Theseus, but He leave thee i'th lurch, when 
thou mak'st thy voiage into hell ; till then. Thine- 145 
assuredly. 

Hor. With all my soule, deare Capten. 

Tuc. Thou'lt shoote thy quilles at mee when 
my terrible backe's turn'd for all this, wilt not 
porcupine ? and bring me & my Heliconistes into 130 
thy dialogues to make us talke madlie, wut not 
Lucian ? 

Hor. Capten, if I doe 

Tuc. Nay, and thou dost, homes of Lucifer, 
the parcell-poets shall sue thy wrangling muse 135 
in the court of Pernassus, and never leave hunt- 
ing her till she pleade in forma pauperis : but I 
hope th*ast more grace : come, friendes, clap 



350 tirtje <IIlntme^0ing of [activ. 

handes, tis a bargaine ; amiable Bubo, thy fist 
must vvalke too ; so, I love thee, now I see th'art 140 
a little Hercules, and wilt fight ; He sticke thee 
now in my companie like a sprig of rosemary. 
Enter Sir Rees ap Vaughan and Peter Flash. 

Flash. Draw, Sir Rees, he's yonder, shall I 
upon him? 

Sir Vaughan. Upon him? goe too, goe too, 145 
Peter Salamander; holde, in Gods name, holde; 
I will kill him to his face, because I meane he 
shall answer for it, being an eye-witnes; one 
urde, Capten Tucky. 

Tuc. He give thee ten thousand words and 150 
thou wilt, my little Thomas Thomasius. 

Sir Vaughan. By Sesu, tis best you give good 
urdes too, least I beate out your tongue, and 
make your urde ncre to bee taken more; doe you 
heare, five pounds, five pounds, Tucky. 155 

Tuc. Thou shalt ha five, and five, and five, 
and thou wantst money, my Job. 

Sir Vaughan. Leave your fetches and your 
fegaries, you tough leather-jerkins; leave your 
quandaries, and trickes, and draw upon me y'i6o 
are best: you conny-catch Widdow Miniver- 
caps for five pounds, and say tis for me to cry 
mum, and make mee run up and downe in dis- 
honors, and discredites ; is 't not true, you winke- 
a-pipes rascall? is not true? 165 



Scene II.] ^f^t I^UtttOrOUS? ^Ott 35 1 

Tuc. Right, true, guilty, I remember't now; 
for, when I spake a good word to the widdow for 
thee, my young Sampson 

Sir raughan. For five pounds, you cheating 
scab, for 5. pounds, not for me. 170 

Tuc. For thee, O Caesar, for thee I tooke up 
five pounds in golde, that lay in her lap, & said 
Ide give it thee as a token from her : I did it but 
to smell out how she stood affected to thee, to 
feele her; I, and I know what she said, I know 175 
how I carried away the golde. 

Sir Vaughan. ^y Sesu, I ha not the mercy to 
fall upon him now: M. Tucky, did widdow 
Minivers part quietly from her golde, because 
you lyed, and said it was for me? 180 

Tuc. Quietly, in peace, without grumbling, 
made no noise; I know how I tempted her in 
thy behalfe, my little Trangdo. 

Sir Vaughan. Capten Tucky, I will pay back 
her 5. £. (unles you be damn'd in lyes) h hold 185 
you, I pray you pocket up this; by the crosse a 
this sword & dagger, Capten, you shall take it. 

Tuc. Dost sweare by daggers ? nay, then He 
put up more at thy hands then this. 

Flash. Is the fray done sir? 19° 

Sir Vaughan. Done, Peter, put up your 
smeeter. 

Tuc. Come hether, my soure-fac'd poet ; fling 



352 turtle tiantrus^sfing of (act iv. 

away that beard-brush, Bubo, casheere him and 
harke: Knight attend: so, that raw-head and 195 
bloudy-bones. Sir Adam, has fee'd another brat 
(of those nine common wenches) to defend bald- 
nes and to raile against haire: he'll have a fling 
at thee, my noble cock-sparrow. 

Sir f^aughan. At mee? will hee fling the cud- 200 
gels of his witte at mee ? 

Tuc. And at thy button-cap too; but come. 
He be your leader, you shall stand, heare all, & 
not be scene ; cast off that blew coate, away with 
that flawne, and follow, come. Exit. 205 

Hor. Bubo, we follow, Captaine. 

Sir Vaughan. Peter, leave comming behinde 
me, I pray, any longer, for you and I must part, 
Peter. 

Flash, Sounds, Sir, I hope you will not serve 210 
me so, to turne me away in this case. 

Sir Vaughan. Turne you into a fooles coate; 
I meane I will go solus.^ or in solitaries alone; 
ounds, y-are best give better words, or He turne 
you away indeed; where is Capten Tucky?2i5 
come, Horace; get you home, Peter. Exit. 

Flash. He home to your cost, and I can get 
into the wine-seller. Exit. 

Hor. Remember where to meete mee. 

Jsin. Yes He meete; Tucca should ha found 220 
I dare meete. Exit, 



Scene III.] ^^je i^UmOrOUS? I^Oet 353 

Hor, Dare defend baldnes, which our con- 
quering muse 
Has beaten downe so flat ? Well, we will goe, 
And see what weapons theyr weake wittes doe 

bring; 
If sharpe, we'll spred a large and nobler wing; 225 
Tucca, heere lyes thy peace ; warre roares agen ; 
My swoord shall never cutte thee, but my pen. 

Exit. 

[Scene 3 .1 

[Sir Mam's Garden.'] 

Enter Sir Adaniy Crispinus, FanniuSy Blunt, Miniver, 
Petula, Philocalia and Dicace, 

Ladies. Thankes, good Sir Adam. 

Sir Adam. Welcome, red-cheekt ladies, 

And welcome, comely widdow; gentlemen, 
Now that our sorry banquet is put by, 
From stealing more sweet kisses from your lips, 
Walke in my garden : ladyes, let your eyes 5 

Shed life mto these flowers by their bright beames : 
Sit, sit, heere's a large bower, heere all may 

heare. 
Now, good Crispinus, let your praize begin 
There, where it left off, baldnes. 

Cris. I shall winne 

No praise, by praising that, which to deprave, 10 



354 ^^t tiantru00ing of [activ. 

All tongues are readie, and which none would 
have. 
Blunt. To proove that best, by strong and 
armed reason, 
Whose part reason feares to take, cannot but 

proove 
Your wit's fine temper, and from these win love. 

Min. I promise you has almost converted me. 15 
I pray bring forward your bald reasons, M. Poet. 
Cris. Mistris, you give my reasons proper 
names, 
For arguments (like children) should be like 
The subject that begets them; I must strive 
To crowne haU headtSy therefore must baldlie 

thrive; 20 

But be it as it can : to what before 
Went arm'd at table, this force bring I more. 
If a bare head (being like a dead-mans scull) 
Should beare up no praise els but this, it sets 
Our end before our eyes, should I dispaire 25 

From giving baldnes higher place then haire? 
Min. Nay, perdie, haire has the higher place. 
Cris. The goodliest & most glorious strange- 
built wonder. 
Which that great Architect hath made, is heaven. 
For there he keepes his court, it is his kingdome, 30 
That's his best master-piece; yet tis the roofe 
And seeling of the world : that may be cal'd 



Scene IIL] tKlje !^UmOrOU0 ^Ott 355 

The head or crowne of Earth, and yet that's balde, 
All creatures in it balde; the lovely Sunne, 
Hasafacesleekeasgolde; thefull-cheekt Moone, 35 
As bright and smooth as silver; nothing there 
Weares dangling iockes, but sometimes blazing 

starres, 
Whose flaming curies set realmes on fire with 

warres. 
Descend more low; looke through man's five- 

folde sence, 
Of all, the eye beares greatest eminence, 40 

And yet that's balde, the haires that like a lace, 
Are sticht unto the liddes, borrow those formes, 
Like pent-houses, to save the eyes from stormes. 
Sir Adam. Right, well said. 
Oris, A head and face ore-growne with shag- 

gie drosse, 45 

O, tis an Orient pearle hid all in mosse; 
But when the head's all naked and uncrown'd. 
It is the worlds glohe^ even, smooth, and round ; 
Baldnes is natures hut., at which our life, 
Shootes her last arrow : what man ever lead 50 

His age out with a stafFe, but had a head 
Bare and uncover'd ? hee whose yeares doe rise 
To their full height, yet not balde, is not wise. 
The head is Wisedomes house, haire but the 

thatch. 
Haire f It's the basest stubble; in scorne of it, 55 



356 tC^e Ziantru^fifing of (act iv. 

This proverbe sprung, He has more halve then wit : 
Marke you not in derision how we call 
A head growne thicke with haire,bush-naturall ? 
Min. By your leave (Master Poet) but that 
bush-naturall is one a the trimmest and most 60 
intanglingst beautie in a woman. 

Cris. Right, but beleeve this (pardon me most 

fa ire) 
You would have much more wit, had you lesse 

haire. 
I could more wearie you to tell the proofes, 
(As they passe by) which fight on baldnes side, 65 
Then you were taskt to number on a head 
The haires. I know not how your thoughts are 

lead, 
On this strong tower shall my opinion rest, 
Heades thicke of haire are goode^ hut balde the best. 

Whilst this paradox is in speakings Tucca 
enters with Sir yaughan at one doore, 
and secretly place th him : then Exit and 
brings in Horace muffle dy placing him: 
Tucca sits among them. 

Tuc. Th'art within a haire of it, my sweete 7° 
Wit whether wilt thou ? my delicate Poetical! 
Furie, th*ast hit it to a haire. 

Sir Vaughan steps out. 

Sir Faughan. By your favour, Master Tucky, 
his balde reasons are wide above two hayres. I 



Scene HI.] tClje l^umotous? ^oet 357 

besees you pardon mee, ladies, that I thrust In so 75 
malepartly among you, for I did but mych heere, 
and see how this cruell poet did handle bald 
heades. 

Sir Adajn. He gave them but their due, Sir 
Vaughan ; widdow, did he not ? 80 

Min, By my faith, he made more of a balde 
heade, than ever I shall be able : he gave them 
their due truely. 

Sir Vaughan, Nay, uds bloud, their due is to bee 
a the right haire as I am, and that was not in 85 
his fingers to give, but in God a mighties. Well, 
I will hyre that humorous, and fantasticall poet 
Master Horace, to breake your balde pate. Sir 
Adam. 

Sir Adam. Breake my balde pate ? 9® 

Tuc, Dost heare, my worshipfull block-head ? 

Sir Vaughan. Patience, Captaine Tucky, let me 
absolve himj I meane he shal pricke, prickeyour 
head or sconce a little with his goose-quils, for 
he shal make another thalimum, or crosse-stickes, 95 
or some polinoddyes, with a fewe nappy-grams 
in them, that shall lift up haire, and set it an 
end, with his learned and harty commendations. 

Hor. This is excellent, all will come out now. 

Dicache. That same Horace, me thinkes, has 100 
the most ungodly face, by my fan; it lookes, for 
all the world, like a rotten russet apple whentis 



358 ^\)t ^ntrufi?0ing of [act iv. 

bruiz'd: its better then a spoonefull of sinamon 
water next my heart, for me to heare him speake ; 
hee soundes it so i' th' nose, and talkes and 105 
randes for all the world like the poore fellow 
under Ludgate : oh fye upon him ! 

Alin. By my troth, sweet ladies, it's cake and 
pudding to me to see his face make faces when 
hee reades his songs and sonnets. no 

Hor. He face some of you for this when you 
shall not budge. 

Tuc. Its the stinckingst dung-farmer — fob 
upon him ! 

Sir Faugha?!. Fob ? oundes, you make him urse 115 
than old herring: fob? by Sesu, I thinke he's as 
tidy and as tall a poet as ever drew out a long 
verse. 

Tuc. The best verse that ever I knew him 
hacke out was bis white neck-verse. Noble Ap 120 
Rees,thou wouldst scorne to lave thy lippes to his 
commendations, and thou smeldst him out as I 
doe: hee calles thee the burning Knight of the 
Salamander. 

Sir Faughan. Right, Peter is my Salamander; 125 
what of him ? but Peter is never burnt : howe 
now ? so, goe too now. 

Tuc. And sayes because thou clipst the Kinges 
English, — 

Sir Faughan, Oundes, mee .? that's treason: 130 



Scene III.] tE^l^t f^UtttOrOUSf ^Ott 359 

clip ? horrible treasons, Sesu, holde my handes ; 
clip ? he baites mouse-trappes for my life. 

Tuc. Right little, twinckler, right ; hee sayes 
because thou speak'st no better, thou canst not 
keepe a good tongue in thy head. 135 

Sir Vaughan. By God, tis the best tongue I 
can buy for love or money. 

Tuc. He shootes at thee too, Adam Bell, and 
his arrowes stickes heere ; he calles thee bald- 
pate. 140 

Sir Vaughan. Oundes, make him proove these 
intollerabilities. 

Tuc. And askcs who shall carry the vineger- 
bottle ? & then he rimes too't, and sayes Prick- 
shaft : nay, Miniver, hee cromples thy cap too 5145 
and 

Cris. Come, Tucca, come, no more ; the man's 
wel knowne, thou needst not pamt him : whom 
does he not wrong ? 

Tuc. Mary, himselfe, the uglie Pope Boniface 150 
pardons himselfe, and therefore my judgement 
is that presently he bee had from hence to his 
place of execution, and there bee stab'd, stab'd, 
stab'd. He stabs at kirn. 

Hor. Oh, gentlemen, I am slaine ! oh slave art 155 
hyr'd to murder me, to murder me, to murder 
me ? 

Ladies. Oh God! 



360 ®tie tmmrufifflimg of [activ. 

Sir Vaughan. Ounds, Capten, you have put 
all poetrie to the dint of sword, blow winde about 160 
him : ladies, for our Lordes sake, you that have 
smocks teare off peeces to shoote through his 
oundes. Is he dead and buried ? is he ? pull his 
nose, pinch, rub, rub, rub, rub. 

Tuc. If he be not dead, looke heere ; I ha the 165 
stab and pippin for him : if I had kil'd him, I 
could ha pleas'd the great foole with an apple. 

Cris, How now ? be well, good Horace, beer's 
no wound ; 
Y'are slaine by your owne feares ; how dost thou 

man ? 
Come, put thy heart into his place againe ; jy© 

Thy out-side's neither peir'st, nor in-side slaine. 

Sir Vaughan. I am glad, M. Horace, to see 
you walking. 

Hor. Gentlemen, I am blacke and blewe the 
breadth of a groate. 175 

Tuc. Breadth of a groate ? there's a teston, 
hide thy infirmities, my scurvy Lazarus; doe, 
hide it, least it proove a scab in time: hang 
thee, desperation, hang thee, thou knowst I can- 
not be sharpe set against thee : looke, feele (my 180 
light-uptailes all) feele my weapon. 

Min. O most pittifull, as blunt as my great 
thumbe. 

Sir Vaughan. By Sesu, as blunt as a Welsh 
bag-pudding. 185 



Scene m.] W^t ^UmOtOM^ ^Ott 36 1 

Tuc. As blunt as the top of Poules ; tis not 
like thy aloe, cicatrine tongue, bitter ; no tis no 
stabber, but like thy goodly and glorious nose, 
blunt, blunt, blunt : dost roare bulchin ? dost 
roare? th'ast a good rouncivall voice to cry 190 
lanthorne & candlelight. 

Sir Faughan. Two urds, Horace, about your 
cares : how chance it passes that you bid God 
boygh to an honest trade of building symneys 
and laying downe brickes, for a worse handi-195 
craftnes, to make nothing but railes ; your muse 
leanes upon nothing but filthy rotten railes, such 
as stand on Poules head, how chance ? 

Hor, Sir Vaughan — 

Sir Vaughan. You lye, sir varlet, sir villaine,2oo 
I am Sir Salamanders, ounds, is my man Master 
Peter Salamanders face as urse as mine ? Sentle- 
men all, and ladies, and you say once or twice 
amen, I will lap this little silde, this booby, in 
his blankets agen. 205 

Omnes, Agree'd, agree'd. 

Tuc. A blanket, these crackt Venice glasses 
shall fill him out, they shall tosse him. Holde 
fast wag-tailes : so, come, in, take this bandy 
with the racket of patience, why when? dost 210 
stampe mad Tamberlaine, dost stampe ? thou 
thinkst th'ast morter under thy feete, dost \ 

Ladies. Come, a bandy ho ! 



362 ®^e tiantru00ing of [activ. 

Hor. O holde, most sacred beauties. 

Sir Vaughan. Hold, silence, the puppet- 21 5 
teacher speakes. 

Hor. Sir Vaughan, noble Capten, gentlemen, 
Crispinus, deare Demetrius, O redeeme me. 
Out of this infamous by God, by Jesu 

Oris. Nay, sweare not so, good Horace, now 

these ladies ^ aao 

Are made your executioners: prepare 
To suffer like a gallant, not a coward ; 
He trie t' unloose their hands, impossible. 
Nay, womens vengeance are implacable. 

Hor. Why would you make me thus the ball 225 
of scorne? 

Tuc. He tell thee why, because th'ast entred 
actions of assault and battery against a com- 
panie of honourable and worshipfull fathers of 
the law: you wrangling rascall, law is one of 230 
the pillers ath land, and if thou beest bound 
too't (as I hope thou shalt bee) thou't proove a 
skip-jacke, thou't be whipt. He tell thee why, 
because thy sputtering chappes yelpe that arro- 
gance, and impudence, and ignoraunce are the 235 
essential parts of a courtier. 

Sir Vaughan. You remember, Horace, they 
will puncke, and pincke, and pumpe you, and 
they catch you by the coxcombe : on, I pray, one 
lash, a little more. 240 



Scene III] ^j^t Jl^umorous; poet 363 

Tuc. He tell thee why, because thou cryest 
ptrooh at worshipful! cittizens, and cal'st them 
flat-caps, cuckolds, and banckrupts, and modest 
and vertuous wives punckes & cockatrices. He 
tell thee why, because th'ast arraigned two poets 245 
against all lawe and conscience ; and not content 
with that, hast turn'd them am.ongst a company 
of horrible blacke fryers. 

Sir Vaughan. The same hand still, it is your 
owne another day. M. Horace, admonitions is 250 
good meate. 

Tuc. Thou art the true arraign'd poet, and 
shouldst have been hang'd, but for one of these 
part-takers, these charitable copper-lac'd Chris- 
tians, that fetcht thee out of purgatory (players 255 
I meane) theaterians, pouch-mouth, stage- 
walkers ; for this, poet, for this, thou must lye 
with these foure wenches, in that blancket, for 
this^ — — 

Hor. What could I doe, out of a just revenge, 260 
But bring them to the stage ? they envy me 
Because I holde more worthy company. 

Dem. Good Horace, no; my cheekes doe 
blush for thine. 
As often as thou speakst so. Where one true 
And nobly-vertuous spirit, for thy best part 165 

^\l flat-caps. Pearson reprint (Dekker, Works y i, p. 244) ; 
Hat-caps. The Fl is badly printed and looks like H in the quartos. 



364 ^f)t Ziantru00ing of [Act iv. 

Loves thee, I wish one ten, even from my heart. 

I make account I put up as deepe share 

In any good mans love, which thy worth earnes, 

As thou thy selfe. We envy not to see 

Thy friends with bayes to crowne thy poesie. 270 

No, heere the gall lyes, we that know what stufFe 

Thy verie heart is made of, know the stalke 

On which thy learning growes,and can give life 

To thy (once dying) basenes, yet must we 

Dance antickes on your paper. 

Hor, Fannius 275 

Cris. This makes us angry, but not envious. 
No, were thy warpt soule put in a new molde, 
Ide weare thee as a jewel set in golde. 

Sir Vaughan. And jewels, Master Horace, 
must be hang'd you know. 280 

Tuc. Good pagans, well said, they have 
sowed up that broken seame-rent lye of thine, 
that Demetrius is out at elbowes, and Crispinus 
is falne out with sattin heere, they have; but, 
bloate-herring, dost heare? 285 

Hor. Yes, honour'd Captaine, I have eares at 
will. 

Tuc. 1st not better be out at elbowes, then 
to bee a bond-slave, and to goe all in parch- 
ment as thou dost ? *90 

Hor. Parchment, Captaine? tis Perpetuana I 
assure you. 



Scene 111] ^^t I^UmOlTOUfi^ ^(Stt 365 

Tuc. My perpetuall pantaloone, true, but tis 
waxt over; th'art made out of wax; thou must an- 
swere for this one day ; thy muse is a hagler, and 295 
weares cloathes upon best-be~trust : th'art great 
in some bodies books for this, thou knowst 
where ; thou wouldst bee out at elbowes, and out 
at heeles too, but that thou layest about thee with 
a bill for this, a bill — 300 

Hor, I confesse, Capten, I followed this suite 
hard. 

Tuc. I know thou didst, and therefore whilst 
we have Hiren heere, speake, my little dish- 
washers, a verdit,pisse-kitchins. 305 

Omnes. Blancket. 

Sir Vaughan. Holde, I pray, holde, by Sesu, 
I have put upon my heade a fine device to make 
you laugh ; tis not your fooles cap. Master 
Horace, which you coverM your poetasters in, 310 
but a fine tricke, ha, ha, is jumbling in my 
braine. 

Tuc, He beate out thy braines, my whorson 
hansome dwarfe, but ile have it out of thee. 

Omnes. What is it, good Sir Vaughan ? , 315 

Sir Vaughan. To conclude, tis after this man^ 
ners, because Ma. Horace is ambition, and does 
conspire to bee more hye and tall as God a 
mightie made him, wee'll carry his terrible per- 
son to court, and there before his Masestie dub, 320 



366 ' ^\)t <iantru00ing of [act iv. 

or what you call it, dip his muse in some licour, 
and christen him, or dye him into collours of a 
poet. 

Omnes. Excellent. 

Tuc. Super, super-excellent! revellers goe, 325 
proceede you Masters of Arte in kissing these 
wenches, and in daunces bring you the quiver- 
ing bride to court, in a maske ; come Grumboll, 
thou shalt mum with us; come, dogge mee, 
skneakes-bill. 33® 

Hor. O thou my Muse ! 

Sir Vaughan. Call upon God a mighty, and 
no muses ; your muse I warrant is otherwise oc- 
cupied ; there is no dealing with your muse now, 
therefore, I pray, marse, marse, marse, oundes, 335 
your moose ? Exeunt, 

Oris. We shal have sport to see them. Come, 
bright beauties. 
The Sunne stoops low, and whispers in our eares. 
To hasten on our maske, let's crownethis night 340 
With choise composed wreathes of sweet delight. 

Exeunt, 



sciNti.i X!!^\)e pumoxme pm 367 



[^a V. Scene I.] 

[Hall in the House of Sir Qui?itilian.'] 

Enter Terrill and dslestine sadly. Sir Quintilian stir- 
ring and mingling a cup of wine. 

TerrilL O Night, that dyes the firmament in 

blacke, 
And like a cloth of cloudes dost stretch thy 

limbes 
Upon the windy tenters of the ayre: 

thou that hang^st upon the backe of Day, 
Like a long mourning gowne, thou that art made 5 
Without an eye, because thou shouldst not see 

A lovers revels, nor participate 
The bride-groomes heaven, 6 heaven, to me a 
hell : 

1 have a hell in heaven, a blessed cursse ; 

All other bride-groomes long for night, and taxe 10 
The day of lazie slouth, call Time a cripple, 
And say the houres limpe after him, but I 
Wish Night for ever banisht from the skie. 
Or that the Day would never sleepe, or Time 
Were in a swound, and all his little Houres, 15 
Could never lift him up with their poore powers. 



368 ar^ie ^ntru00ing of [actv. 

Enter Caelestine. 
But backward runnes the course of my delight; 
The day hath turn'd his backe, and it is night j 
This night will make us odde ; day made us eeven ; 
All else are damb'd in hel, but I in heaven. ao 

Celestine. Let loose thy oath, so shall we still 

be eeven. 
Ter. Then am I damb'd in hell, and not in 

heaven. 
Cel. Must I then goe ? tis easie to say no, 
Must is the king himselfe, and I must goe; 
Shall I then goe ? that word is thine; I shall, 25 
Is thy commaund: I goe because I shall; 
Will I then goe? I aske my selfe; 6 ill. 
King saies, I must ; you, I shall ; I, I will. 
Ter. Had I not sworne — 
Cel. Why didst thou sweare.? 

Ter. The King 

Sat heauvy on my resolution, 30 

Till (out of breath) it panted out an oath. 

Cel. An oath ? why, what's an oath .? tis but 
the smoake 
Of flame & bloud, the blister of the spirit. 
Which rizeth from the steame of rage, the bubble 
That shootes up to the tongue, and scaldes the 

voice, 35 

(For oathes are burning words) thou swor'st but 
one. 



Scene I.] tK^f l^UmOrOU0 POft 369 

Tis frozen long agoe : if one be numbred, 
What countrimen are they ? where doe they 

dwell, 
That speake naught else but oathes ? 

Ter. They're men of hell. 

An oath ? why tis the trafficke of the soule, 40 
Tis law within a man, the seale of faith. 
The bond of every conscience, unto whom 
We set our thoughts like hands : yea, such a one 
I swore, and to the King. A King containes 
A thousand thousand ; when I swore to him, 45 
I swore to them ; the very haires that guard 
His head, will rise up like sharpe witnesses 
Against my faith and loyalty : his eye 
Would straight condemne me : argue oathes no 

more. 
My oath is high, for to the King I swore. 5® 

Enter Sir Quintilian with the cup. 
Cel. Must I betray my chastity ? So long 
Cleane from the treason of rebelling lust; 
O husband ! O my father ! if poore I 
Must not live chast, then let me chastly dye. 
S. ^intilian. I, beer's a charme shall keep 

thee chaste, come, come, 55 

Olde Time hath left us but an houre to play 
Our parts ; begin the sceane, who shall speake 

first ? 
Oh, I, I play the King, and Kings speake first. 



370 ®l)e ^ntru00ing of (act v. 

Daughter, stand thou heere, thou, Sonne Terrill, 

there, 
O thou standst well, thou lean'st against a poast, 60 
(For thou't be posted ofF I warrant thee :) 
The king will hang a home about thy necke. 
And make a poast of thee; you stand well both. 
We neede no Prologue, the King entring first, 
He's a most gracious Prologue ; mary, then 65 

For the Catastrophe, or Epilogue, 
Ther's one in cloth of silver, which no doubt 
Will please the hearers well, when he steps out ; 
His mouth is fil'd with words: see where he 

stands : 
He'll make them clap their eyes besides their 

hands. 70 

But to my part ; suppose who enters now, 
A King, whose eyes are set in silver, one 
That blusheth golde, speakes musicke, dancing 

walkes. 
Now gathers neerer, takes thee by the hand. 
When straight thou thinkst, the very orbe of 

heaven 75 

Mooves round about thy fingers, then he speakes, 
Thus — thus — I know not how. 

CeL Nor I to answer him. 

Sir ^int. No, girle, knowst thou not how to 

answer him ? 
Why then the field is lost, and he rides home, 



Scene I.j ® ^0 !^UmOrOUfif ^Ott 3 J I 

Like a great conquerour ; not answer him ? 80 

Out of thy part already ? foylde the sceane ? 
Disranckt the lynes ? disarm'd the action ? 

Ter. Yes, yes, true chastity is tongu*d so weake, 
Tis over-come ere it know how to speake. 

Sir ^int. Come, come, thou happy close of 
every wrong, 85 

Tis thou that canst dissolve the hardest doubt ; 
Tis time for thee to speake, we are all out. 
Daughter, and you, the man whom I call Sonne, 
I must confesse I made a deede of gift 
To heaven and you, and gave my childe to both, 90 
When on my blessing I did charme her soule 
In the white circle of true chastity 
Still to run true till death : now. Sir, if not, 
She forfeyts my rich blessing, and is fin'd 
With an eternall cursse ; then, I tell you, 95 

She shall dye now, now whilst her soule is true. 

Ter. Dye? 

Cel. I, I am deaths eccho. 

Sir ^int. O, my Sonne, 

I am her Father ; every teare I shed. 
Is threescore ten yeere old ; I weepe and smile 
Two kinde of teares : I weepe that she must dye, 100 
I smile that she must dye a virgin : thus 
We joyfuU men mocke teares, and teares mocke 
us. 

Ter. What speakes that cup ? 



3 7 2 ^^t ^ntrufi^0ing of [act v. 

Sir ^'int. White wine and poison. 

Ter. Oh ! 

That very name of poison, poisons me ; 
Thou Winter of a man, thou walking grave, 105 
Whose life is like a dying taper, how 
Canst thou define a lovers labouring thoughts? 
What sent hast thou but death ? what taste but 

earth ? 
The breath that purles from thee is like the 

steame 
Of a new-open'd vault : I know thy drift, no 

Because thou art travelling to the land of graves, 
Thou covetst company, and hether bringst 
A health of poison to pledge death, a poison 
For this sweete spring ; this element is mine, 
This is the ayre I breath; corrupt it not; 115 

This heaven is mine, I bought it with my soule, 
Of him that selles a heaven, to buy a soule. 
Sir ^int. Well, let her goe ; she's thine, thou 

cal'st her thine. 
Thy element, the ayre thou breath'st ; thou 

knowst 
The ayre thou breathst is common, make her so : 120 
Perhaps thou't say none but the King shall 

weare 
Thy night-gowne, she that laps thee warme 

with love. 
And that Kings are not common : then to shew 



Scene L] ^}^t J^UtttOrOUSf ^Ott 373 

By consequence he cannot make her so, 
Indeedeshe may promoote her shame and thine, 125 
And with your shames, speake a good word for 

mine : 
The King shining so cleare, and we so dim. 
Our darke disgraces will be seene through him. 
Imagine her the cup of thy moist life. 
What man would pledge a King in his owne wife? 130 
Ter. She dyes : that sentence poisons her • O 
life! 
What slave would pledge a King in his owne wife ? 
Ce/. Welcome, 3 poyson, phisicke against lust, 
Thou holesome medicine to a constant bloud. 
Thou rare apothecary, that canst keepe 135 

My chastity preserv'd within this boxe 
Of tempting dust, this painted earthen pot, 
That stands upon the stall of the white soule 
To set the shop out like a flatterer. 
To draw the customers of sinne, come, come, 140 
Thou art no poison, but a dyet-drinke 
To moderate my bloud : white-innocent wine. 
Art thou made guilty of my death ? oh no. 
For thou thy selfe art poison'd, take me hence. 
For Innocence, shall murder Innocence. 145 

Drwkes. 
Ter, Holde, holde, thou shalt not dye, my 
bride, my wife, 
O stop that speedy messenger of death ; 



374 ^^t ^ntm^^ing of [act v. 

let him not run downe that narrow path, 
Which leades unto thy heart, nor carry newes 
To thy remooving soule, that thou must dye. 150 

Cel. Tis done already, the Spirituall Court, 
Is breaking up ; all offices discharg'd. 
My soule remooves from this weake standing 

house 
Of fraile mortallity : Deare Father, blesse 
Me now and ever: Dearer Man, farewell, 155 

1 joyntly take my leave of thee and life, 
Goe, tell the King thou hast a constant wife. 

Ter. I had a constant wife. He tell the King; 
Untill the King — what dost thou smile ? art thou 
A Father ? 

Sir ^int. Yea, smiles on my cheekes arise, 160 
To see how sweetly a true virgin dyes. 
Enter Blunt, Crisp in us, Fannius, P hike alia. Die ache, 
Petula, lights before them. 

Oris. Sir Walter Terrill, gallants are all ready ? 

Ter, All ready. 

Dem, Well said, come, come, wher's the 
bride ? 

Ter. She's going to forbid the banes agen. 
She'll dye a maide : and see, she keeps her oath. 165 

All the men. Faire Caelestine ! 

Ladies, The bride ! 

Ter. She that was faire, 

Whom I cal'd faire and Caelestine. 



Scene H.J tKlje ^tXtttOtOn^ ^Ott 375 

Omnes. Dead ! 

Sir ^lint. Dead, sh's deathes bride, he hath 
her maidenhead. 

CrU. Sir Walter Terrill. 

Omnes, Tell us how. 

Ter, All cease. 

The subject that we treate of now is peace. 170 
If you demaund how, I can tell ; if why, 
Aske the King that \ he was the cause, not I. 
Let it suffice, she's dead, she kept her vow, 
Aske the King why, and then He tell you how. 
Nay give your revels life, tho she be gone, 175 

To court with all your preparation ; 
Leade on, and leade her on ; if any aske 
The mistery, say death presents a maske. 
Ring peales of musicke, you are lovers belles. 
The losse of one heaven, brings a thousand hels. 180 

Exeunt, 

VScene 2.1 

\The King's Banquet- Hall.] 

Enter an arm* d Sewer ^ after him the service of a Ban- 
quet : the King at another doore meetes them, they 
Exeunt, 

King. Why so, even thus the Mercury of 
Heaven 
Ushers th* ambrosiate banquet of the Gods, 



376 ®^ie ^Kntmsffifing of [actv. 

When a long traine of Angels in a ranke, 
Serve the first course, and bow their Christall 

knees 
Before the silver table, where Joves page, 5 

Sweet Ganimed,filles nectar : when the Gods 
Drinke healthes to Kings, they pledge them ; 

none but Kings 
Dare pledge the Gods ; none but Gods drinke 

to Kings. 
Men of our house are we prepar'd ? 
Enter Servants. 
Servant. My Leige, 

All waite the presence of the bride. 

King. The bride ? 10 

Yea, every senceles thing, which she beholdes. 
Will looke on her agen, her eyes reflection 
Will make the walles all eyes with her perfec- 
tion : 
Observe me now, because of maskes and revels, 
And many nuptiall ceremonies; marke, 15 

This I create the Presence, heere the State, 
Our kingdomes seate, shall sit in honours pride, 
Like pleasures Queene, there will I place the 

bride : 
Be gone, be speedy, let me see it done. 

Exeunt [servants^, 
A King in love is Steward to himselfe, 20 

9 Strvant. Q, Ser.y not distinguishing servant and servantt. 



Scene n.] tl^}^f f^UmOtOUii ^Ott 377 

And never scornes the office : my selfe buy 
All glances from the market of her eye. 

So/} Musickcy chain is set under a canopie. 
King, Sound, musicke, thou sweet suiter to 
the ayre, 
Now wooe the ayre agen, this is the houre 
Writ in the calender of time, this houre 25 

Musicke shall spend, the next and next the bride ; 
Her tongue will read the musicke-lecture. Wat, 
I love thee, Wat, because thou art not wise, 
Nor deep-read in the volume of a man. 
Thou never sawst a thought. Poore soule,thou 

thinkst JO 

The heart and tongue is cut out of one peece, 
But th'art deceav'd, the world hath a false light, 
Fooles thinke tis day, when wise men know tis 
night. 

Enter Sir Quintiiian. 
Sir ^intilian. My Leige, they're come, a 
maske of gallants. 

King, Now the spirit of Love ushers my 

bloud. 
Sir ^int. They come. 35 

The watch-word in a maske is the bolde drum. 
Enter Blunt y Crispinusy Demetrius ^ Philocaliay Petula, 
Dicachcy all maskty two and two with lights like 
maskers : Ccelestine in a chair e, 
Ter, All pleasures guard my King, I heerc 
present 



378 QTlie mntrufiffifing of [actv. 

My oath upon the knee of duety : knees 

Are made for Kings, they are the subjects fees. 

King. Wat Terrill,th'art ill suited, ill made up, 40 
In sable collours, like a night peece dyed, 
Com'st thou the Prologue of a maske in blacke ? 
Thy body is ill shapt, a bride-groome too ? 
Looke how the day is drest in silver-cloth 
Laide round about with golden sunne-beames, so 45 
(As white as heaven) should a fresh bride-groome 

goe. 
What? Caelestine the bride, in the same taske? 
Nay, then I see ther's mistery in this maske, 
Prethee resolve me, Wat. 

Ter. My gracious Lord, 

That part is hers, she actes it ; onely I 50 

Present the Prologue, she the misterie. 

King. Come, bride, the sceane of blushing 
entred first. 
Your cheekes aresetled now, and past the worst. 

Unmasks her. 
A mistery ? oh none plaies heere but death, 
This is death's motion, motionles; speake you, 55 
Flatter no longer; thou, her bride-groome, thou, 
Her Father, speake. 

Sir ^int. Dead. 

Ter. Dead. 

55 motion y motionles ; Qa, motion, motionles j Qb, motion j 
motionles ? 



Scene IL] ®^t i^UtttOrOUSf ^Ott 7,19 

King. How ? 

Sir ^uint, PoysonM. 

King. And poyson'd? 

What villaine durst blaspheme her beauties, or 
Prophane the cleare religion of her eyes ? 

Ter. Now, King, I enter, now the sceane is 

mine, 60 

My tongue is tipt with poison ; know who 

speakes. 
And looke into my thoughts ; I blush not, King, 
To call thee tyrant ; death hath set my face. 
And made my bioud bolde ; heare me, spirits of 

men. 
And place your eares upon your hearts ; the day 65 
(The fellow to this night) saw her and me 
Shake hands together, for the booke of heaven 
Made us eternall friends, thus, Man and Wife. 
This man of men (the King) what are not Kings ? 
Was my chiefe guest, my royall guest, his Grace 70 
Grac'd all the table, and did well become 
The upper end, where sate my bride : in briefe, 
He tainted her chaste eares ; she yet unknowne, 
His breath was treason, tho his words were none. 
Treason to her and me. He dar'd me then, 75 

Under the covert of a flattering smile. 
To bring her where she is, not as she is, 
Alive for lust, not dead for chastity. 



380 ^\)t tiantm00ing of [act v. 

The resolution of my soule, out-dar'd, 

I swore and taxt my faith with a sad oath 80 

Which I maintaine, heere take her, she was 

mine, 
When she was living, but now dead, she's thine. 

King. Doe not confound me quite, for mine 
owne guilt 
Speakes more within me then thy tongue con- 

taines ; 
Thy sorrow is my shame, yet heerein springs 85 
Joy out of sorrow, boldnes out of shame. 
For I by this have found, once in my life, 
A faithfull subject, thou a constant wife. 

Cel. A constant wife. 

King, Am I confounded twice ? 

Blasted with wonder? 

TVr. O delude me not. 90 

Thou art too true to live agen, too faire 
To be my Ca^lestine, too constant farre 
To be a woman. 

Cei. Not to be thy wife. 

But first I pleade my duetie, and salute 
The world agen. 

Sir ^int. My King, my Sonne, know all: 95 
I am an actor in this misterie. 
And beare the chiefest part. The Father, I, 
Twas I that ministred to her chaste bloud 

90 me. Q wc. 



sctNt n.] tE^^t i^umorottfif poet 381 

A true somniferous potion, which did steale 
Her thoughts to sleepe, and flattered her with 

death. loo 

I cal'd it a quick poisonM drug, to trie 
The bride-groomes love, and the brides con- 

stancie. 
He in the passion of his love did fight 
A combat with affection ; so did both. 
She for the poison strove, he for his oath. 105 

Thus like a happie Father, I have won 
A constant Daughter and a loving Sonne. 

King, Mirrour of Maidens, wonder of thy 

name, 
I give thee that art given, pure, chaste, the same. 
Heere Wat, 1 would not part (for the worlds 

pride) no 

So true a bride-groome and so chaste a bride. 

Cm. My Leige, to wed a comicall event 
To presupposed tragicke argument. 
Vouchsafe to exercise your eyes, and see 
A humorous dreadfull poet take degree. 115 

King. Dreadfull,in his proportion,or his pen ? 
Cris, In both, he calles himselfe the whip of 

men. 
King. If a cleare merrit stand upon his praise. 
Reach him a poets crowne (the honour'd bayes) 
But if he claime it, wanting right thereto, 120 

(As many bastard sonnes of poesie doe) ^ 



382 (Etje <iantru00ing of (actv. 

Race downe his usurpation to the ground. 
True poets are with arte and nature croivnd. 
But in what molde so ere this man bee cast, 
We make him thine, Crispinus. Wit and judge- 
ment 125 
Shine in thy numbers, and thy soule I know, 
Will not goe arm'd in passion gainst thy foe, 
Therefore be thou our selfe, whilst our selfe sit 
But as spectator of this sceane of wit. 

Oris. Thankes, royall Lord, for these high 

honors done *3o 

To me unworthie. My mindes brightest fires 
Shall all consume them selves in purest flame 
On the alter of your deare eternall name. 

King. Not under us, but next us, take thy 
seate, 
Artes nourished by Kings make Kings more great. 135 
Use thy authority. 

Cris. Demetrius, 

Call in that selfe-creating Horace, bring 
Him and his shaddow foorth. 

Dem. Both shall appeare. 

No black-eyed star must sticke in vertues Spheare. 
Enter Sir Fa ugh an. 

Sir Vaughan. Ounds, did you see him ? I pray 140 
let all his Masesties most excellent dogs be set at 
liberties, and have their freedoms to smell him out. 

Dem. Smell whom ? 



Scene II.] ^^t l^UmOtOUg ^Ott 383 

Sir Vaughan, Whom? The Composer, the 
Prince of Poets, Horace, Horace, he's departed: 145 
in Gods name and the Kinges, I sarge you to 
ring it out from all our eares, for Horaces bodie 

is departed: Master hue and crie.shall God 

blesse King Williams, I crie you mercy and aske 
forgivenes, for mine eyes did not finde in their 150 
hearts to looke uppon your Masestie. 

King. What news with thee. Sir Vaughan ? 

Sir Vaughan, Newes ? God, tis as urse newes 
as I can desire to bring about mee : our unhan- 
some-fac'd poet does play at bo-peepes with your 155 
Grace, and cryes all-hidde as boyes doe. 

Officers. Stand by, roome there, backe, roome 
for the Poet. 

Sir Vaughan. He's reprehended and taken, by 
Sesu, I rejoice very neere as much as if I had 160 
discover'd a New-found Land, or the North and 
East Indies. 

Enter Tucca, his boy after him with two pictures under 
his cloakcy ana a wreath of nettles : Horace and 
Bubo pur d in by th* homes bound both like Satyres, 
Sir Adam following, Mistris Miniver with him, 
wearing Tuccaes chaine. 
Tuc. So, tug, tug, pull the mad bull in by'th 
homes : so, baite one at that stake, my place- 
mouth yelpers, and one at that stake, Gurnets- 165 
head. 



384 ®l)e zamru^fifing of [actv. 

King. What busie fellow 's this ? 

Tuc. Save thee, my most gracious King a 
Harts, save thee. All hats and caps are thine, and 
therefore I vaile, for, but to thee, great Sultanei7o 
Soliman, I scorne to be thus put ofF or to deliver 
up this sconce I wud. 

King. Sir Vaughan, what's this jolly Captaines 
name? 

Sir Vaughan. Has a very sufficient name, and 175 
is a man has done God and his Country as good 
and as hot service (in conquering this vile Mon- 
ster-poet) as ever did S. George his horse-backe 
about the Dragon. 

Tuc. I sweate for't, but, Tawsoone, holde thy 180 
tongue, Alon du., if thou't praise mee, doo't 
behinde my backe : I am, my weighty Soveraigne, 
one of thy graines,thy valliant vassaile. Aske not 
what I am, but read, turne over, unclaspe thy 
Chronicles; there thou shalt finde BufFe-Jerkin;i85 
there read my points of war : I am one a thy Man- 
dilian-Leaders, one that enters into thy royall 
bands for thee, Pantilius Tucca.^ one of thy King- 
domes chiefest quarrellers, one a thy most faith- 
full — 'iy — ^y — fy 190 

Sir Vaughan. Drunkerds, I holde my life. 

Tuc. No, whirligig, one of his faithfull fight- 
ers; thy drawer, O royall Tamor Cham. 

193 Tamor Cham, (^b, Tam or Cham. 



Scene II.j ^^t fQUmOXOU^ ^Ott 385 

Sir Vaughan, Goe too, I pray, Captaine Tucca, 
give us all leave to doe our busines before the 195 
King. 

Tuc. With ail my heart, shi, shi, shi shake 
that Beare-whelp when thou wut. 

Sir Vaughan. Horace and Bubo, pray send an 
answere into his Masesties eares, why you goeaoo 
thus in Ovids Morter-Morphesis and strange 
fashions of apparrell. 

Tuc. Cur^ why ? 

j^sin. My Lords, I was drawne into this 
beastly suite by head and shoulders onely for loveaog 
I bare to my ningie. 

Tuc. Speake, ningie, thy mouth's next, belch 
out, belch, why 

Hor. I did it to retyre me from the world, 
And turne my Muse into a Timonist, aio 

Loathing the general leprozie of sinne. 
Which like a plague runs through the soules of 

men: 
I did it but to- 

Tuc. But to bite every Motley-head vice by'th 
nose; you did it, ningie, to play the bug-beareais 
satyre, & make a campe royall of fashion-mongers 
quake at your paper bullets : you nastie tortois, 
you and your itchy poetry breake out like Christ- 
mas, but once a yeare, and then you keepe a 
Revelling, & Araigning, & a scatching of mens 220 



386 ' tlTlje tEntru00ing of [act v. 

faces, as tho you were Tyber, the long-tail'd 
Prince of Rattes, doe you ? 

Cris, Horace — 

Sir Vaughan, Silence, pray let all urdes be 
strangled, or held fast betweene your teeth. 225 

Cris. Under controule of my dreade Sover- 
aigne. 
We are thy Judges; thou that didst Arraigne, 
Art now prepar'd for condemnation ? 
Should I but bid thy muse stand to the barre, 
Thy selfe against her wouldst give evidence, 230 
For flat rebellion gainst the sacred lawes 
Of divine Poesie : heerein most she mist. 
Thy pride and scorne made her turne Saterist^ 
And not her love to vertue (as thou preachest). 
Or, should we minister strong pilles to thee, 235 
What lumpes of hard and indigested stufFe, 
Of bitter satirisme, of arrogance. 
Of selfe-love, of detraction, of a blacke 
And stinking insolence, should we fetch up ? 
But none of these ; we give thee what's more 

fit : 240 

With stinging nettles crowne his stinging wit. 

Tuc. Wei said, my poeticall huckster, now 
he's in thy handling, rate him, doe, rate him well. 

Hor, O I beseech your Majesty, rather then 
thus to be netled. He ha my satyres coate245 

239 stinking. Q, stinging. Sec Ad Lectorcm, p. 270, 21. 



Scene II.J tKlje J^UtttOrOtt^ ^Ott 387 

puU'd over mine eares, and bee turn'd out a the 
nine muses service. 

Jsin. And I too, let mee be put to my shiftes 
with myne ningle. 

Sir Vaughan. By Sesu, so you shall, M. Bubo. 250 
Flea off this hairie skin, M. Horace, so, so, so, 
untrusse, untrusse. 

Tuc. His poeticall wreath, my dapper puncke- 
fetcher. 

Hor. Ooh 255 

Tuc. Nay your oohs, nor your Callinoes can- 
not serve your turne : your tongue you know 
is full of blisters with rayling, your face full of 
pockey-holes and pimples with your fierie inven- 
tions, and therefore to preserve your head froma6o 
aking, this biggin is yours, 

Sir Vaughan. Nay, by Sesu, you shall bee a 
poet, though not lawrefyed, yet nettlefyed, so. 

Tuc. Sirrastincker,thou'rt but untruss'd now: 
I owe thee a whipping still, and He pay it: 1 265 
have layde roddes in pisse and vineger for thee: 
it shall not bee the Whipping a^ th Satyre^ nor the 
Whipping of the blinde-Beare, but of a counter- 
feit Jugler, that steales the name of Horace. 

King. How ? counterfeit ? does hee usurpe that 270 
name ? 

Sir Vaughan. Yes indeede, ant please your 
Grace, he does sup up that abhominable name. 



388 STlje ^ntrusfring of [actv. 

Tuc. Hee does, O King Cambises, hee does : 
thou hast no part of Horace in thee but's name 275 
and his damnable vices : thou hast such a terri- 
ble mouth, that thy beard's afraide to peepe out : 
but, looke heere, you staring Leviathan, heere's 
the sweete visage of Horace; looke, perboylde- 
face, looke : Horace had a trim long-beard, and 280 
a reasonable good face for a poet, (as faces goe 
now-a-dayes) : Horace did not skrue and wriggle 
himselfe into great mens famyliarity, (inpudent- 
lie) as thou doost : nor weare the badge of gen- 
tlemens company, as thou doost thy tafFetie285 
sleeves, tactkt too onely with some pointes of 
profit : no, Horace had not his face puncht full 
of oylet-holes, like the cover of a warming-pan : 
Horace lov'd poets well, and gave coxcombes 
to none but fooles, but thou lov'st none, neither29o 
wisemen nor fooles, but thy selfe : Horace was 
a goodly corpulent gentleman, and not so leane 
a hollow-cheekt scrag as thou art : no, heere's 
thee coppy of thy countenance, by this will I 
learne to make a number of villanous faces more, 295 
and to looke scurvily upon'th world, as thou dost. 

Cris. Sir Vaughan will you minister their oath ? 

Sir Vaughan. Master Asinius Bubo, you shall 
sweare as little as you can ; one oath shall damme 
up your innocent mouth. 300 

Jsin. Any oath, sir, He sweare any thing. 

301 Asin. Q. Cris. 



Scene II.] ^\)t l^UmOrOU0 ^Ott 389 

Sir Vaughan, You shall sweare, by Phoebus 
(who is your poets good Lord and Master,) that 
heere-after you will not hyre Horace to give you 
poesies for rings, or hand-kerchers, or knives, 305 
which you understand not, nor to write your 
love-letters, which you (in turning of a hand) 
set your markes upon, as your owne ; nor you 
shall not carry Lattin poets about you, till you 
can write and read English at most; and lastlyes^o 
that you shall not call Horace your ningle. 

Jsin. By Phcebus^ I sweare all this, and as 
many oathes as you will, so I may trudge. 

Sir Vaughan. Trudge then, pay your legs for 
fees, and bee dissarg'd. 315 

Tuc, Tprooth runne Red-cap, ware 

homes there. Exit Asin. 

Sir Vaughan, Now, Master Horace, you must 
be a more horrible swearer, for your oath must 
be (like your wittes) of many collours, and, like 3*0 
a brokers booke, of many parcels. 

Tuc. Read, read th'inventory of his oath. 

Hor. He sweare till my haire stands up an 
end, to bee rid of this sting. Oh this sting ! 

Sir Vaughan. Tis not your sting of conscience, 3^5 
is it? 

Tuc. Upon him : Inprimis. 

Sir Vaughan. Inprimis., you shall sweare by 

3ii Asin. Q. Cris. 



390 ^\)t ^ntru00ing of [act v. 

Phoebus and the halfe a score muses lacking 
one, not to sweare to hang your selfe, if you 33° 
thought any man, ooman or silde, could write 
playes and rimes, as well-favour'd ones as your 
selfe. 

Tuc. Well sayd. Hast brought him toth gal- 
lowes already ? 335 

/ Sir Faughan. You shall sweare not to bum- 
bast out a new play, with the olde lynings of 
jestes, stolne from the Temples Revels. 

Tuc. To him, olde Tango. 

Sir Vaughan. iMoreover, you shall not sit in 34o 
a gallery, when your comedies and enterludes 
have entred their actions, and there make vile and 
bad faces at everie lyne, to make sentlemen have 
an eye to you, and to make players afraide to 
take your part. 345 

Tuc. Thou shalt be my ningle for this. 

Sir Vaughan. Besides, you must forsweare to 
venter on the stage, when your play is ended, 
and to exchange curtezies and complements 
with gallants in the lordes roomes, to make all35o 
the house rise up in armes, and to cry that's 
Horace, that's he, that's he, that's he, that 
pennes and purges humours and diseases. 

Tuc. There, boy, agen. 

Sir Vaughan. Secondly, when you bid all 355 
your friends to the marriage of a poore couple, 



Scene H] W^t t^UttlOrOU^ ^Ott i 39 1 

that is to say, your Wits and necessities^ alias 
dictus^ to the rifling of your Muse^ alias ^ your Muses 
up-sitting^ alias ^ a Poets Whitson-Ale^ you shall 
sweare that within three dayes after, you shall 360 
not abroad, in booke-binders shops, brag that 
your Vize-royes or Tributorie-Kings, have done 
homage to you, or paide quarterage. 

Tuc. He busse thy head, Holofernes. 

Sir Vaughan, Moreover and Inprimis^ when 365 
a knight or sentlemen of urship, does give you 
his passe-port, to travaile in and out to his com- 
pany, and gives you money for Gods sake, I 
trust in Sesu, you will sweare (tooth and nayle) 
not to make scalde and wry-mouth jestes upon 370 
his knight-hood, will you not ? 

Hor. I never did it, by Parnassus. 

Tuc. Wut sweare by Parnassus, and lye too, 
Doctor Doddipol? 

Sir Vaughan. Thirdly, and last of all, saving 375 
one, when your playes are misse-likt at court, 
you shall not crye mew like a pusse-cat, and say 
you are glad you write out the courtiers element. 

Tuc. Let the element alone, tis out a thy 
reach. 380 

Sir Vaughan. In brieflynes, when you sup in 
tavernes amongst your betters, you shall sweare 
not to dippe your manners in too much sawce, 
nor at table to fling epigrams, embleames, or 



392 Clje WLxitm&^in^ of [act v. 

play-speeches about you (Ivke hayle-stones) 10385 
keepe you out of the terrible daunger of the shot, 
upon payne to sit at the upper ende of the table, 
a'th left hand of Carlo Buffon. Sweare all this, 
by Apollo and the eight or nine muses. 

Hor. By Apollo, Helicon, the muses (who 390 
march three and three in a rancke) and by all that 
belongs to Pernassus, I sweare all this. 

Tuc. Beare witnes. 

Cris. That fearefull wreath, this honour is 
your due. 
All poets shall be poet-apes but you. 395 

Thankes, learnings true iVIecjcnas, poesies king, 
Thankes for that gracious eare, which you have 

lent 
To this most tedious, most rude argument. 

King. Our spirits have well beene feasted. He 
whose pen 
Drawes both corrupt and cleare bloud from all 

men, 4oo 

Careles what veine he prickes, let him not rave 
When his owne sides are strucke. Blowes 
blowes doe crave. 

Tuc. Kings-truce, my noble hearbe-a-grace ; 
my princely sweet-William, a boone — Stay 
first, ist a match or no match. Lady Furnivall,405 
ist ? 

Sir Jd, iff Sir ^int. A match .? 



Scene IL] ^\)t I^UmOrOU0 ^Ott 393 

Min. I, a match, since he hath hit the mistris 
so often i'th fore-game, we'll eene play out a 
rubbers. 410 

Sir Ad, Take her for me. 

8ir ^int. Take her for thy selfe, not for me. 

Sir Vaughan, Play out your rubbers, in Gods 
name, by Sesu, He never boule more in your 
alley, iddow. 415 

Sir ^int. My chaine. 

Sir Ad. My purse. 

Tuc. He chaine thee presently, and give thee 
ten pound and a purse. A boone, my Leige . . . 
daunce, o my delicate Rufus, at my wedding 420 
with this reverend antiquary. 1st done ? Wut 
thou ? 

King. He give thee kingly honour: Night and 
Sleepe 
With silken ribands would tye up our eyes, 
But, Mistris Bride, one measure shall be led, 425 
In scorne of mid-nights hast, and then to bed. 

Exeunt. 



EPILOGUS. 

Tucca. Gentlemen^ gallants^ and you^ my little 
swaggerers that fight lowe^my tough hearts of oake^ 
that stand too't so vall'iantly^ and are still within a 
yard of your Capten^ now the trumpets (that set 
men together by the eares^ have left their tantara- 5 
rag-hoy^ let's part friends. I recavt^ beare witnes 
all you gentle-folkes (that walke ith galleries^ 1 
recant the opinions which I helde of courtiers^ ladies^ 
y cittizens^ ivhen once (in an assembly of friers^ I 
railde upon them. That hereticall libertine Horace .^ lo 
taught me so to mouth it. Besides.^ twas when stijffe 
Tucca was a boy : tivas not Tucca that railde and 
roared then^ but the Devill & his angels. But now^ 
kings-truce^ the Capten summons a parlee., and de- 
livers himself e and his prating company into your 15 
hands., upon what composition you wil. Are you 
pleas' d ? and lie dance friskin for joy., but if you be 

not., byth Lord lie see you all heere for your two 

pence a peice agen^ before lie loose your company, I 
know now some he come hyther with cheekes swolne 20 
as big with hisses^ as if they had the tooth-ach : 

uds-foote., if I stood by them., Ide bee so bold as 

intreate them to hisse in another place. Are you 
advized what you doe when you hisse ? you blowe 



(II;pilogus? 395 

away Horaces revenge^ but if you set your hands 15 
and seales to th'is^ Horace will write against it^ and 
you may have more sport. He shall not loose his 
labour^ he shall not turne his blanke verses into wast 
paper, No^ my poetasters ivill not laugh at him^ 
but will untrusse him agen^ and agen^ and agen. 30 
lie tell you what you shall doe^ cast your little Tucca 
into a bell^ doe^ make a bell of me^ and be al you 
my clappers^ upon condition^ wee may have a lustie 
peale^ 

this cold weather. I have but two legs left me 35 
and they are both yours. Good night 
my two penny tenants 
--God night. 

FINIS. 



K 



i^otess to ^atftoma^tir 

265. Satiromastix. The Scourging of the Satire, or Satyr. 

265. Non recitO . . . COactuS. Horace, Sat. I, 4, 73. 

266. Dramatis Personae. Dekker has three stories in the 
play, (i) King William Rufus, Sir Walter Terrill and the marriage 
of Celestine 5 (2) Mistris Miniver and the Knights; (3) Horace, 
Crispinus, Demetiius, Tucca, etc. S^s Introduction^ p. Ixvii. Sir Wal- 
ter Terrill killed William Rufus accidentally while hunting, as is told 
in Holinshed's Chronicle. The Welsh Knight, Sir Vaughan, rep- 
resents the Welshman, who appears almost as a stock character in 
many plays. The Horace story is taken directly from Poetaster. 

266. non . . . nihil. Martial, Epigr. xiii, 2. 

^ 267. To the World. Cf. Poetaster, 1 74, 142. 
Pol. The World. 
.^ut. The baud. 

267, 6. Midasses eares. Midas, whose touch turned things 
to gold, had his ears changed to those of an ass for asserting that 
Pan excelled Apollo, 

267, 6-7. Monstrum . . . ademptum. Virgil, ^«. 
Ill, 658. 

267, 8. Poliphemian eye. The giant Polyphemus had but 
one eye, which Ulysses bored out. See Odyssey, i, 70, sqq. 

267,10. Poetomachia. A battle of the poets, Jonson, Mar- 
ston, Dekker, etc., which was fought in the stage-war in which 
Poetaster and Satiromastix were written. 

267, 14. chopins. Shoes with thick soles to give additional 
height to the wearer. 

267, 16. untruSS'd Horace. Cf the title, Satiromastix, 
or The Untrussing of the Humorous Poet. See Poetaster, 1 1 9, 31— 

33- 
267, 19-21. Burgonian . . . against him. Hawkms 

{Origin of the English Drama, 1 773, note on this passage) thought 



398 ^Ott& 

this an allusion to the Bastard of Burgundy, overthrown in 1467 
at Smithfield by Anthony Woodville. It is probably, as Dr. Small 
suggests {^(^ge i^arrel, p. 6, note), a reference to John Barrose, 
*' a Burgonian by nation, and a fencer by profession," who in i 598 
challenged all fencers. He was executed July 10, 1598, for killing 
an " officer of the City," as told in iitoiv'' s Annah, "j^J-b. 

267, 23-24- Apollo . . . Coronator Poetarum. Jon- 
son's critical attitude, and claim to be the priest of Phccbus Apollo, 
are again ridiculed in 280, 8, and 305, 140-141. 

268, 27. Bun-hill. A part of Finsbury, so called because 
bones removed from old St. Paul's in 1549 by order of Protector 
Somerset were deposited there. 

268, 28. se defendendo. Legal, ''in self-defense." This 
was Jonson's plea in the Apologeticall Dialogue appended to Poet- 
aiter. 

268, 36-37. Horace . . . Humour. Jonson did not rep- 
resent himself in any of the characters in Efery Man in His Hu- 
mour, but did represent himself in Et'ery Alan out of His Humour^ 
as Asperj in Cynthia's Re'vels, as Critesj and in Poetaster^ as Horace, 
as Tucca states. See 294, 375, note. 

268, 39. Arraignement. The second title of Poetaster. 

268, 40. cat-a-mountaine. A term applied to rough fel- 
lows. To mew was a common way of expressing disapproval. 

268, 44-4<;. Capten Hannam. Evidently an actual person. 
We know nothing more about him. 

268, 48. new-minted. That is, a character originated by 
the author, not an imitation or adaptation of a previous character. 

268, 48-49. of what test so ever. A " test " was a pot 
for refining metals, or the process of examining by "test," or cupel, 
at mints. 

269, 62. Poules Church-yard. A favorite resort for act- 
ors and playwrights. Bookseller's shops were also in Paul's Church- 
yard. 

269, 68-69. Detraction . . . Envy. See Poetaster^ 147, 
206, and En-vs Prologue, 1. 6. 

269, 71. Nauci. "... Evry lyttell thynge of no value, a 
thyng of naught. Nauci esse, to be worth nothyng." Bibliothcca 
Eliota^ ed. 1559, s. v. Nauci. Latin, naucum or naucus. 



JpOtfflf 399 

269,72. Venusian Horace. Horace was born at Venusia. 
269, 73-74. Populuspiaudo. Horace, Sat. i, I, 66. The 
populace hiss me, but I applaud myself. 

269, 75. Malim cocis. Martial, ix, 81, 4. 

270, 4. Comedy of Errors. Allusion to Shakespeare's 
play. TAe Comedy of Errors was first published in the folio of I 623 
and entered S. R. Nov. 8, 162.3. Dr. Furnivall places the date 
of writing 1589; Professor Dowden, 159I; Mr. Fleay, c. 1590. 

272, -^0-3 1, scutchions . . . sable ground. Scutcheon, 
armorial bearings or shield. Sable, the heraldic term for black. 

272, 35. melancholy schoolemaster. Cf. Dekker's 
yens to make you Merry (ed. Grosart, p. 297). The 57. yest. 
** A Company of Theeves, broke one night into a countrie Schoole 
maisters house but hee hearing them, cryed out aloude ... 1 won- 
der you will loose time to seeke anything heere by night when I 
my selfe can linde nothing by day." 

272, 43. wedding gloves. The gift of a pair of gloves 
was commonly made to those who attended weddings or funerals. 

272, 45. rosemary. Associated with death. Cf. Harnlet, iv, 
5> ^75> *' There's rosemary that's for remembrance." Associated 
also with love and marriage. 

273, 48. coarse. Corpse. 

273, 52. hey ho. A common exclamation in old songs. 

273, 53. to lead apes in hell. A common expression in 
regard to virginity. It has been explained in several ways. Nares 
says: '* As ape occasionally meant a fool, it probably meant that 
those coquettes who made fools of men, and led them about with- 
out real intention of marriage, would have them still to lead against 
their will hereafter." But see also Notes and Queries, in, 9, 386. 

273,64. rebatoes. A kind of falling band. A collar turned 
down on the shoulders. 

273, 64. poaking. "Poking sticks" or ''poting sticks'* 
were used in setting ruffs. See also 303, 85-88, where '< poaking " 
is used with a double meaning. 

274, 74. virginall jackes. The virginal was a kind of 
spinet, so called because commonly played by young ladies. The 
jack was '*an upright piece cf wood fixed to the back of the key- 
board, and fitted with a quill which plucked the string as the jack 



400 JliOtefif 

rose on the key's being pressed. By Shaks. and some later writers 
erron. applied to the key." N E. D. 

274, 84. embleame. See Poetaster 23, 245, note. 

275, 100. burnt wine and sugar. Light wines called 
sack (siccus, dry) often needed to be sweetened. Mulled, or burnt, 
wine and sugar was a favorite drink. 

275, 116. knocke's. Knock his. 

275» 116. coxcombe. A comb resembling a cock's was 
commonly worn by the licensed fool. The term came to be used 
for a silly person. 

276, 133. Justice Crop. Mr. Fleay {Biograph. Chron. i, 
368) thinks this person the same as the ** Venerable cropshin " 
(Lupus) in Poetaster, 16, 52. 

277, 170. Quiontilian. Sir Vaughan, a Welshman, speaks 
English peculiarly. See 30O, 4, and 301, 37, where he says, 
Kintilian. 

279, 200. maskes and revels. The common form of en- 
tertainment on special occasions. "Revels" was a general term 
for entertainments, and an office, Master of the Revels, was per- 
manently established in 1545. ** Early in the reign of Henry VIII 
the word ' masque ' appears, and before long this became the general 
term for all court shows and disguisings." Schelling, Elizabethan 
Drama, i, 73, 76. 

280, S. D. Horrace . . . himselfe. This stage-direction 
presents Horace in a manner suggested by words of Hedon and 
Anaides in Cynthia's Revels, in, i. Hedon '* . . .a whoreson 
book-worm, a candle-waster." See also Poetaster, 177, 196-200. 

280, 1-288, 225. To thee . . . Fannius. This scene 
is a parody on Jonson's Poetaster, in, i, in which Horace is presented 
composing an ode. See Poetaster, 50, 8 and 9, notes. Mr. H. C. 
Hart says {The Works of Ben Jonson, vol. II, p. xix-xxi) : ** This 
is not bad foolery, but only one line is from Poetaster. But in Dray- 
ton's Ode 2, To the Neiv Tear (Arber's English Garner, ed. Bul- 
len, p. 410), I find, 'Give her th' Eoan brightness' . . . 'wrapt 
up in Numbers flowing' . . . ♦ Before thy Priests divining ' . . . 
* O rapture great and holy ' . . . * The Roses of the morning ! 
The rising heaven adorning To mesh with flames of hair.' . . . 
Horace asks Bubo, * Th' ast a coppy of mine odes to, hast not, 



Bubo ? Asinius. Your odes ? O that which you spoke by word of 
mouth at th' ordinary when Musco the gull cryed mew at it. When 
Dekker sticks at the rhyme for flowing, Drayton has the dreadful 
lines, * wrapped up in Numbers flowing, Them actually bestowing 
for jewels at her ear. ' 

*' It was not these parodies of Eoan brightness that suggested Dray- 
ton to me ; it was the usually pregnant last words of Tucca's to 
Bubo : ' runne, Red-cap, ware horns ' (Horace and Bubo are 
adorned with horns Mike Satyres'). The earliest Redcap allusion 
I have met with, excepting this (it occurs earlier in the play [325,26 3]), 
is in the name 'Mother Redcap,' a play by Drayton and Munday: 
*the 28 of desembr 1597 for a boocke called mother Readcape to 
Antony Monday & Mr. Drayton, iii II' (Henslowe's D/a^y ) [ed. 
Greg, I, p. 70]. 

**The name Bubo (owl) may be explained. A couple of years 
after this time Drayton published his satirical poem. The Oivl. This 
was perhaps a nickname (he himself is the *owl' in the poem), 
and foreshadowed earlier. 

* 'Drayton has a Sonnet (Sonnet xxi) in his 1594-16 19 collection 
in which he tells how he was employed by a ' witless gallant, To 
write him but one Sonnet to his Love,' and 'with my verses, he 
his mistress won.' In Sir Vaughan's sentence on Asinius Bubo, he 
says to him: * You shall sweare by Phoebus who is your Poet's good 
lord and master) that hereafter you will not hyre Horace to give 
you poesies for rings, . . . nor to write you Love-letters which you 
(in turning of a hand) set your markes upon, as your owne, etc." 

" There are several allusions to Bubo's small size : * You prettie 
diminutive roague j ' Tucca calls Bubo ' waferface ' ; * Amiable Bubo 
. . . th' art a little Hercules.' Drayton says he became 'a proper 
goodly page, much like a pigmy ' in a letter to Henry Reynolds 
(Fleay [Biog. Chron. i, 145] ). 

" Asinius is a constant smoker : . . . The Metamorphosis of 
Tobacco^ 1602, was dedicated to Drayton, as a patron. . , . The writer 
calls Drayton 'my loving friend,' and his selection proves him to 
be a notorious ' tobacconist.' " 

280, 8. thy priest. Sec Poetaster^ I49, 248. 

281, 30. Pernassus. Mt. Parnassus was sacred to Apollo 
and the muses. There is here no allusion to the Parnassus plays, 
as Dr. Scherer queries. 



402 jl^otefiJ 

281, 39. Helicon. Like Parnassus, a mountain sacred to 
Apollo and the muses. 

281, 42. Epithalamium. Extant examples of Jonson's 
cpithalamiums are later than Satircmastix, but it is evident that he 
was known in 1601 as a writer of that kind of poems. 

282,49-50. leafe . . .pipe. There is a play on each word. 
One meaning refers to poetry, the other to tobacco. There were 
several kinds of tobacco commonly used in Jonson's day. In the 
Introduction to C\nthias Revels we read, " I have my three sorts 
of tobacco in my pocket." In Tobacco Batttred, by Sylvester, d. 
1618, is mention of ** ball," "leaf," "pudding," and "cane." 

282, 71. I, mary. " V'es, by Mary," a common oath. 

283, 74-75- consort of pypes. There is a play on the 
words, which refer to music (concert of pipes) as well as to smoking. 

283, 76-77. candle . . . angels. The oath by the can- 
dle was a mild oath to avoid profanity. Cf. Northivard Hoe (Pear- 
son, Dekker, III, 26), " by this iron which is none a God's Angell." 
The idea is derived from St. Matt, v, 34. 

283,82. Himen I OHimenl Hymen was the God of mar- 
riage among the Greeks. 

283, 89. untye their virgin zone. A belt was worn as 
a sign of virginity among the Greeks and Romans. The Roman 
bride wore a wreath of flowers on her head and a girdle of sheep's 
wool. Part of the ceremony of marriage was for the bridegroom to 
untie this girdle. 

284, 103-106. acrosticks . . . odes. Jonson probably 
wrote many acrostics and cpithalamiums which were known to his 
contemporaries, but which have not come down to us. Specimens 
of his acrostics and epithalamimus are among his extant works. 

284, 109. by word . . . ordinary. Jonson was evidently 
accustomed to recite his verses when he had hearers. He refers to 
this in epigram 10 1, Innjiting a friend to Supper. Drummond men- 
tions the habit of reciting poetry. {Con'v. Sh. Soc. p. 6.) 

284, 109. MUSCO the gull. " Musco," derived from musk, 
refers to the perfume used by the gallants, who were called also 
*' muscovites." To " cry mew " was a mode of ridiculing. 

284, 117. Palinode. A reference to the Palinode, or re- 
cantation, sung by the courtiers at the close of Cynthia t Revels. 



284) '*0« Spleane. The spleen v/as regarded as a seat of 
emotion. 

284, 124. Puh. An exclamation. 

285, 13Z-134. Angels . o . angles. Puns on the word, 
and on two meanings of angel. The gold coin known as an angel 
was worth about ten shillings. 

285, 140, most goodly big hand. Jonson's manuscripts 
preserved in the British museum are clear and legible. 

285, 141-142. sav'd by their neck-verse. Jonson was 
tried for the murder of Gabriel Spencer, a player, whom he slew in 
a duel in 1598. The record of the trial states that Jonson " con- 
fesses the indictment, asks for the book, reads like a clerk, is 
marked with the letter ' T ' and is delivered according to the Sta- 
tute. " An account of the trial, with transcript of the record, is to 
be found in The Athentsuin, 1886, p. 337. 'T' means Tyburn. 
Under English law persons who could read received "benefit of 
clergy ' ' and were exempt from the death penalty. ' ' The neck-verse 
was a Latin verse in blackletter, usually the beginning of the fifty- 
first Psalm." N. E. D. 

285, 147 blocke. *' Block" and ''blockhead" were both 
used for the wooden mould on which a hat was shaped. 

285, 1 57. horses walking a' the top of Paules. There 

are a number of allusions to Banks, a juggler, and his trained horse, 
Morocco, which went up to the roof of St. Paul's. The dancing 
horse in Lovers Labour ^s Lost, i, 2, is supposed to be Morocco. 
For further information concerning this horse see Chambers's Book 
0/ Days, I, 225, Nares Glossary, s. -v. Banks's Horse, and Notes 
an J ^eries, v, 6, 476 and 7, 375, etc. 

286, 164. lymping tongu'd captaine. Tucca was a 
stammerer. See Poetaster, 22, 208, note. 

286, 165-166. out of his element. See Poetaster, 15, 
38, note. 

286, 167, dudgion wit. A dudgion was a dagger. 

286, 168. an epigram. See Poetaster, 173, 11 7-127, for 
the Epigram on Tucca Jonson's Epigrams are referred to several 
times in Satiromastix. 

286, 171. jorneyman poet. See Poetaster, 80, 367, and 
119, 32, notes. 



404 JliOtf0 

286, 173. bricklayer. An allusion to the fact that Jonson 
worked at one time as a bricklayer. 

286, 176. copper-lace w^ork-masters. Copper was used 
instead of gold in the lace and tinsel of" stage costumes. 

286, 179. unsalted line. Witless, dull. Sec Pottaster, lyi^ 
63, note. 

286, 183-287, 194. That same . . . lynes. Dekker 
here quotes lines of Criticus (quarto) from Cynthia i Rcvch, 111, 3: 

*• What should I care what every dor doth buzze 
In credulous eares ? it is a crowne to me, 
That the best judgements can report me wrong'd ; 

*Tis Hedon, and Anaides: Alassc, then, 

I thinke but what they are, and am not stirr'd. 

The one a light voluptuous reveller, 

The other, a strange arrogating puflTe, 

Both impudent and ignorant inough." 

Dekker identifies Hedon and Anaides with Crispinus and Deme- 
trius (See Introduction^ pp. Ivii-lxi), but critics have questioned the 
accuracy of this identification. 

287, 203. stay. Dr. Scherer prints "stray." Hawkins cor- 
rected the quarto misprint "sttay," and read "stay." 

287, 208. \vell met. The common greeting on which Asinius 
evidently plays in his reply, 11. 209-210, "yet I was sicke," etc. 

288, 21 I. ont. On it. 

288, 212. sa. save. la. a common exclamation. 

288, 215. tickling geare. Implements and material for 
smoking. 

288, 216-218. pype . . . hodgshead. Demetrius plays on 
the words. A " pipe " was a liquid measure containing two " hogs- 
heads " ** Hodgshead " means also '* blockhead." 

288, 220. burnt my pype. Cf. Dekker, The Guls Horn- 
book (Temple Classics, p. 63^, "which pipe has the best boare, 
and which burnes black, which breakes in the burning," etc. 

288, 222. pudding. Made into rolls like a pudding. 

288, 223. a lady or two. Cf. John Swan, Speculum Murdi, 
'^35» P" ^66 (quoted by Mr. Simpson, in Williams's iS/j^c/Ttz^ij o/" 



i^otf0 405 

the Elizabethan Drama, Y>- S'^9)' *' The women of America . . . 
do not use to take Tobacco, because they persuade themselves it is 
too strong for the constitution of their bodies, and yet some women 
of England use it often, as well as men." In E'very Man in His 
Humour, III, 5, Cob makes a speech against tobacco in which he 
says, ''I'd have it present whipping, man or woman, that should 
but deal with a tobacco pipe." 

288, 228. to take him in snuffe. A play on the word. To 
take a thing *' in snufF" was to take it in anger. 

288, 232. take my death. Die. Cf. Shakespeare, j Hen. 
^^f ^ 3> 35 > " O let me pray before I take my death." 

288, 234. hit me ith teeth. Cast in my teeth. 

288, 236. As in presenti. This was an important part of 
Lilly's Latin Grammar, the rule being : '* yis in presenti, perfectum 
format in avi ; Ut no, nas, na-vi, 'vocito, •vocitas, njocitavi.''^ In 
What You Will, 11, 2, Marston gives an interesting scene in an 
Elizabethan Grammar School. Asiniusis also punning, as Dr. Small 
suggested {The Stage parrel, p. 125), as in presentt =: ass-\n- 
present-I, a play on As-in-ius. He left school when he had reached 
the first conjugation. 

289, 239. leafe. Play on the word ♦' leaf," a kind of tobacco. 
Sec 282, 49-50, note. 

289, 240-242. To see my fate ... all gall. This refers 

to Jonson's attack on Crispinus-Marston and Demetrius-Dekker, 
in Poetaster. See Poetaster, 171, 59-68. Other allusions to Jon- 
son's bitter satire are found in Satiromastix, 

289, 246. Anotomy. Anatomy. A cadaver, body for dissec- 
tion. 

289, 257. snakes. See Poetaster, 153, 346-350. 

290, 269. pilles. There may be allusion here to the pills 
given to Crispinus in Poetaster, 156, 413-425. 

290, 276. office of an executioner. A reference to Jon- 
son's general attitude toward his contemporaries and perhaps specifi- 
cally to such passages as the Induction to E'very man out of His 
Humour. 

291, 279-291. say you . . . same man. This refers 
probably to the Apologeticall Dialogue, and passages like 152, 343- 
153, 360, in Poetaster. 



4o6 iliotefl? 

291, 286. our kingdomes golden chaine. Cf. Day, 

Laiv Tricks, 1608, Sig Bv. : 

^^ Lur. Wrong not the Law. 

•« Pol. I cannot, 'tis divine: 

And He compare it to a golden chain 
That links the body of a commonwealth 
Into a firm and formal union," 

(Quoted by Mr. Percy Simpson, Williams's Specimens of E/iz. 
DramOy p. 509.) 

291, 289. five hundred, foure. See 270, 16-18, for the 

correction of the quarto misprint of this line. The meaning might 
be, that of five hundred, whom Jonson might have attacked, only 
four were actually satirized (Penniman, The War of the Theatres, 
p. 76); or that four hundred out of five hundred persons pointed at 
Jonson as the author of a harsh satire (Small, The Stage parrel, 

?• 30). 

291, 294. phisitions, to purge. A general reference, and 
also an allusion doubtless to the Scene in Poetaster, 1 56, 413-425. 

291, 295. daungerous. Causing danger to others. 

291, 296-292, 303. In troth . . . to raile. Dekkerand 
other dramatists admired Jonson, though they resented his attacks 
on them. 

292, 299. Swords . . . sheath'd. Dr. Scherer quotes 
Poetaster, 86, 65-70, and Horace, Sat. 11, i, 40-41, for the 
classical ensis 'vagina tectus. The scene in Poetaster is that with 
Trebatius, inserted later and not referred to here by Dekker. 

292, 311. Mas. By the Mass. 

292,311. rose-leaves. See 289, 240-241. 

292, 318. stile. A play on the meanings of the word. 

293, 3^5- Gods so. An oath. See Poetaster, u, 39, note, 
for a similar expression. 

293, 329. bastards. Cf. Dekker, The Wonderful Teare 
(1603): " Alas, poore wenches (the nine Muses) how much are 
you wrong' d, to have such a number of Bastards lying upon your 
hands." [Dekker., ed. Grosart, i, 80.) 

293, 331- gorgeous gallery. Tucca quotes the title of a 
book, Gorgeous Gallery of Gallant Inventions, 1578. 



0ott& 407 

293* 332. lyme and hayre. Allusion to Jonson as a brick- 
layer, " lyme and hayre " being constituents of mortar. In Patient 
Grissil (Dekker, Chettle, and Haughton), 1600, laths, lime, 
and hair are mentioned (11, i) and are thought to refer to Jonson' s 
trade. (See Penniman, T/ie War of the Theatres^ p. 68.) 

293, 335. Judas. The traitor, who was outwardly friendly, 

293) 336. rug. Rug was a coarse woolen fabric used for mak- 
ing cheap garments. Allusions to Jonson' s shabby clothes are fre- 
quent. 

293, 336. Knights ath Poste. Persons who had been 
"dubbed" at the whipping-post or pillory. The term was also 
used for false witnesses, sharpers, etc. 

293, 337- copper-fact. Brazen-faced, bold, impudent. Per- 
haps the reference is to Jonson's '* darke, pale face" mentioned 
in Poetaster^ 1 78, 221. 

293, 339- graund juryes. Juries of inquiring or present- 
ment, as distinguished from petty juries or juries of trial. 

293, 340-341. not done . . . three dayes. Jonson's 
slowness in composition is referred to several times. See Poetaster^ 
5, 14, note. 

293, 344-345- thin bearded hermaphrodite. In the 

Conversation ivith Drummond (Sh. Soc. p. 36) is a proposed epi- 
taph for Jonson : 

*' Here lies honest Ben 
That had not a beard on his chen." 

293, 346. thy tub Diogines. This is a direct classical al- 
lusion, but it may be also an allusion to Jonson's play, A Tale of 
a Tub, which, from internal allusions, was probably as early as 
1601. 

294, 350-351- godamercy. God have mercy, meaning 
God reward you. 

294, 352. s'foote. God's foot. 

294, 353- beg'd out of a jayle. It was a common thing 
for prisoners to beg from the windows of a jail. 

294,357. Mephostophiles. The name appears thus in the 
German ^Faust-buch, 1587. In Marlowe's Faustus it is given as 
** Mephostophilis" and ** Mephastopilis." 



4o8 iPotr0 

294, 361, Sarsens-head. The sign of a famous tavern on 
Snow Hill, near Newgate Prison. 

294, 363. dunkirkes guts. Dunkirk was a town in Flan- 
ders from which many privateers hailed. These were called "Dun- 
kirks," from their port. 

294, 366. bench-whistler. A loafer who sat on a tavern 
bench whistling. 

294, 367. dagger pye. The Dagger was a public house in 
Holborn famous for its pies, ale, frumety, etc., and frequented by 
gamblers and sharpers. 

294, 367. browne-bread-mouth stinker. A coarse, un- 
refined person. Brown-bread was cheap and inferior. 

294, 369. Bankes his horse. See 285, 157, note. The 
reference here is probably to Poetaster, 111, 4, a scene in which 
Tucca causes the Pyrgi to perform, as Banks caused his horse to 
show tricks. 

294i 37°- a iugler. " In the Prologue [to fVily Beguiled^ 
by Peele, 1596-7?] a juggler enters and offers * to show tricks.' 
Now in the second scene of Dekker's Satiromastix^ Captain Tucca 
says to Horace, i.e. Jonson, ** ' I'll teach thee ... to tell gentle- 
men I am a juggler, and can show tricks.' I have searched in vain 
for any passage either in Jonson' s works, or any play in which he 
could possibly have had a hand, corresponding to this description, 
except this Prologue, which must therefore, I think, be assigned to 
Jonson, the author of the play itself being the * humorous George' 
of the Prologue, i.e. George Peele, as Dyce suggested. . . .'* 
(Fleay, Biog. Chron. 11, 159.) 

294, 373- thou't. Thou wilt. 

294» 375- suites of names. Allusion to the names under 
which Jonson presented himself in his plays which preceded Satiro- 
mastix, viz: Asper, in E-very Man Out of His Humour, I599» 
Criticus (so in quarto, the folio giving "Crites"), in Cynthid'i 
Revels, 1600, and Horace, in Poetaster, 1601. 

295, 378. stile. Mode of designation or address. 

295* 379- big Turkes. Soliman 11, the Magnificent, who 
died in 1566. He is often referred to in Elizabethan literature. 

295? 387. Hunkes. The name of a bear in the Bear Garden. 
Cf. JohnDavies, Epigram {JVorks, ed. Grosart, Chertsay Worthies, 
Libr. 18, p. 41): 



Jliotes? 409 



" Publius, a student of the common law, 
To Paris Garden does himself with-draw ; 

To see old Harry Hunkes, and Sacarson." 
The N.E.D. gives the meaning as '* a term of obloquy for a 

surly, crusty, cross-grained old person, a 'bear' ; now usually, a 

close-fisted, stingy man; a miser " j and quotes this passage from 

Satiromastix, 

295, 388. gull-groper. A swindler. To "grope a gull" 

was to swindle. 

295> 396. reavel'd. Ravelled, worn. See Poetasttr^ 80, 

365, note. 

295, 398. ban-dog. A dog kept tied up on account of his 
ferocity. Such dogs were used to bait bears and bulls. The term is 
often applied to persons, as here. 

295» 403- olde-Coale. A deceiver, cheat, sharper (at dice), 
N.E.D.y which gives the following use of the term : " 1532 Dice 
Play (1850) Z5 To teach the young cock to crowe, all after the 
chcator's kind, the old cole instructeth the young in terms of his art. 

296, 405. rowly po^vlies. Low persons ; cant term taken 
from an old game similar to bowls. 

296, 406. Damons . . . Pithyasse. The classical story 
was familiar and was the subject of the old play, Damon and Pith- 
iat (1571 earliest known edition), by Richard Edwards, and Chet- 
tle's Damon and Pythias, mentioned by Henslowe in 1 599-1 600. 
Horace is called * * their Pithy-asse. ' ' Jonson had played with the 
name '* Crispinus, alias Cri-spinas," in Poetaster, 35, 115, and 
148, 238, and Dekker makes Horace-Jonson play on the name 
in Satiromastix, 313, 50. 

296, 407. Olde cast Sattin suite. Cf. Poetaster, 53, 
79, where the " sattin sleeve " of Crispinus is mentioned. 

296, 408. Demetrius shall write. Cf. Poetaster, 80, 

368, note. 

296, 411. sweare tis thine owne. Horace-Jonson is 
accused of plagiarism in Poetaster, 149, 253, and 152, 335. 

296, 412. into the hands 01 sattin. Another reference 
to Jonson's shabby clothes. See 293, 336, note, "rug." 

296,415. Gorboduck, The tragedy by Norton and Sack- 



410 0Otti 

villc (called in the impression of 1570 Ferrex and Porrex), printed 
in 1565, 1569, 1570, 1571, and 1590, and first acted January 
18, 1562, was the earliest regular English tragedy. King Gorboduc, 
a legendary King of Britain, "divided his realm in his life-time to 
his two sons, Ferrex and Porrex," who quarrelled, and the younger 
killed the elder. 

296, 419. heyre apparant of Helicon. See 281, 39, 

note. Jonson's self-praise offended his contemporaries. See also 
Poetaster, 149, 248, note. 

296, 42;. wafvif-i-iCi. Mr. H. r Hart takes this to bean 
allusion to tiie small size of Drayton, whom lie idcntaics as Asiu- 
ius. See 280, l, note. 

296, 425. at's. At his. 

296, 426. muffe. Originally a term applied to Germans or 
Dutchmen, but extended, as a term of contempt. 

296, 426. man a ginger-bread. Figures made of ginger- 
bread frosted and ornamented gave rise to the expression, meaning 
showy, unsubstantial. Evidently small pieces of charcoal were some- 
times stuck in the mouths of such figures. 

296,427. small COale. *' Buy any small coale " {fVestivard 
Ho! Dekker, Pearson, 11, p. 319) was a cry of colliers. 

296, 431. suites. A play on the word, — clothes, lawsuit. 

297, 434. honest low minded pigmey. The Pigmies 
were a race of dwarfs in Africa. As Jonson was not small, and is 
referred to in several places as a large man, Tucca's use of "pig- 
mey " is ironical or contemptuous. Perhaps, as Dr. Scherer sug- 
gests, Dekker glances at Jonson's expression concerning Demetrius- 
Dekker in Poetaster 80, 366, "a very simple honest fellow." 

297, 437- death of Horatio. The Spanish Tragedy, by 
Kyd, is referred to, in which Jonson acted as Jeronymo, who goes 
mad after the death of Horatio. There were two plays in which 
Jeronymo appears. One is The Spanish Tragedy, and the other, 
earlier, is referred to by Jonson in the Induction to Cynthia' s Re-vels as 
"Hieronimoas it was first acted." (See ATyJ, ed. Boas, Introduction.) 
297, 437-438. thou borro"wedst a gow^ne. Jonson per- 
haps refers to this incident in The Alchemist iv, 4 : 
"Thou must borrow 
A Spanish suit: hast thou no credit with the players } 
Hieronimo's old cloak, ruff, and hat will serve." 



297, 438. Roscius the stager. Richard Burbage, the 
great actor of the day, was known as Roscius. He was a member 
of the Chamberlain's Company, with which Jonson was connected 
in 1598 when he played the part of Jeronimo. (Fleay, Biog. Chron. 
II, 30.) At the close of ^ Funeral Elegy ^ on the death of Burbage, 
in 161 9, is the line, "'Tis England's Roscius, Burbage that I 
keep." Roscius was a celebrated Roman actor. 

297, 438-439. honest Nicodemus. There may have 
been some special significance in this expression, or it may have been 
simply a reference to Nicodemus, the doubter, who came to Jesus 
by night. There is no reference, as Dr. Scherer suggests, to the 
apocryphal Gospel of Nicodemus. 

297, 446. wut. Wilt. M.E. wullt. 

297, 448. fifteene weekes. Szc Poetaster ^^ 14, note, and 
Satiromastix, 293, 340-341, note. 

297, 448. cockatrices egge. The cockatrice and basilisk 
were the same. See Poetaster, 6, 36, note. "Cockatrice" was 
also a cant term for prostitute. See Poetaster, 74, 220. 

297,454-455. safFron-cheeke sun-burnt gipsie. The 

gypsies, supposed to have been Egyptians, hence the name, were 
from their outdoor wandering life of dark complexion. There is prob- 
ably in Tucca's word a reference to the actual appearance of Jonson. 
See 293, 337, and 178, 22 1, notes, 

297, 456. ten pilles . . . ten shillings. "Pill" was 
probably slang for "shilling," as it is to-day slang for "dollar" 
in the United States. " Pilles " suggests the scene in Poetaster, v, 
3. Ten shillings was the value of an angel, hence, perhaps, the 
name Angelica, as used here ; but see next note. 

297, 457- Angelica . . . yare . . . tumbler. Yare 
means nimble, spry. Cf. Marston, The Scourge of Hllanie, satyre 

XI, 11. lOO-IOI, 

^ ^ in prate of pumma Jo re-versa, 

Of the nimbling, tumbling Angelica." 
Angelica is the heroine in Orlando Furioso, Greene's play (1594, 
40) founded on Ariosto. The allusion may be to the appearance 
of a clown in the play dressed like Angelica. 

297, 457- they'l make his Muse. An allusion, perhaps, 

to Poetaster y 73, 192-194. 



412 il^ote0 

297, 459- He shall not want. A tribute to Jonson's abil- 
ity as a writer. 

293,461. Goeby, Jeronirao,goeby. See 297, 43 7, note. 

298,463. When Jacke. "When" is often used abso- 
lutely, as here. Tucca addresses some of his words to Horace, 
others to Blunt. 

298, 463. Maecenas. The patron of the Roman Horace, 
and also a character in Poetaster. 

298, 464-465. up's. Up his. at's. At us. 

298, 464. oven-mouth. An allusion to the hot satirical 
blasts of Horace (Jonson) and also probably to his personal appear- 
ance. But cf. Nashe, Oiriits Teares (ed. Grosart, iv, 186), 
"damme up the Oven of your utterance." 

298, 464. rayling^. See Poetaster, 176, ly^j and 149, *53- 

298, 466. yonder foure stinkers. Crispinus, Demetrius, 
Asinius, and Horace, who were on the stage. 

298, 467. the knight. The knight in this case is Sir Quin- 
tilian, at whose house the next scene is laid. 

298, 469. Surama totalis. The amount of a reckoning. 

298, 474. dasht. To dash is to strike violently, also to spat- 
ter with water, mud, etc. Asinius plays on these meanings when 
he replies (1. 478), " dasht ... in a rainy day." 

298, 479. has. He has, i.e. Tucca has. 

298, 477-480. Mas . . . discreation. Dr. Scherer, and 
Professor Bang whom he quotes, do not understand these lines. 
The meaning, however, seems clear. Crispinus interrupts a speech 
of Asinius with the remark, " yes, once Asinius " The latter cor- 
rects his statement by a play on the word ** dasht " and then fin- 
ishes the interrupted speech. '* By God's 1yd " begins a new sen- 
tence and continues the thought of 1. 474. 

298, 479. Tilt yard. The Tilt yard was an open space at 
Whitehall. " Here for many years were held the annual exercises 
in arms in Celebration of Queen Elizabeth's birthday." Wheatley 
and Cunningham, 1891, London Past and Present, ill, 380, Un- 
derivoods, xxix, is A Speech at a Tilting. 

298, 482. holde up thy g-olles. Hold up thy hands. See 
Poetaster, 147, 207. The reference is to Jonson's trial for the 
murder of Gabriel Spencer. See 285) ^4^> "^te. 



iBotesf 413 

298, 483. SOuIdierS spur-royall. The spur-royal was a 
gold coin worth about 15 i. It was named from the resemblance 
of the star on the reverse to the rowell of a spur. The ** Soldiers" 
spur royal was a shilling, evidently. 

298, 485. quick-silver. Quicksilver is used for wit, spright- 
liness, sharpness, etc. j also here for money. 

298, 486. presse-money. Money paid to men who enlist, 
which binds them to be ready. 

298, 488. crowne. A play on the word, which means also 
a coin worth five shillings, 

298, 488. Porrex. See 296, 415, note. 

298, 488. teston. Originally a French coin, the name of 
which was given to the shilling of Henry VIII, which resembled 
it in appearance and value. The value of the coin was afterwards 
reduced to sixpence. Tucca offers "a souldiers spur-royall, twelve 
pence," doubles it ("double presse-money"), making two shil- 
lings, and adds a teston six pence, thus giving two shillings and six- 
pence or a half-crown. 

299, 490. mandrake. A plant the juice of which was nar- 
cotic, 

299, 492. Amadis de Gaule. The hero of the Spanish 
romance of that name. 

299, 497. March faire. March straight becomingly or pros- 
perously, Cf Jonson. The Case is Alter edy last line, " March fair 
all, for zfair march is ivorth a kings ransom' " 

300, I. lungis. A long, slim, awkward fellow 5 a lout. One 
who is long in doing anything j a laggard, a lingerer. [L. Longinusy 
the apocryphal name of the centurion who pierced our Lord with 
a spear, by popular etymology associated with L. longusy long.] 
N.E.D. 

300, 3. SeSU. Sir Vaughan pronounces English like a Welsh- 
man, and substitutes x for /, p for by k for y«, s for shy and omits iv. 

300, II. strongebacke . . . soft bellie. Cf The Guh 

Hornbook (Temple Classics, p, 14) "fine backs, and fat bellyes are 
Coach-horses to two of the seven deadly sins,' 

300, 14- a Lady. The term gentlewoman means of gentle 
birth, while Lady seems to refer to the wife of a knight or gentle- 
man. Sec Poetaster y 32, 33-3^- 



414 JPOtCflf 

300, 16. all implements. Stephen Gosson, in Pleasant 
^uippes for upstart Gentlewomen^ '595? attacks in verse the use 
of feather fans, masks, etc. and the employment of coaches. 

301, 20. my coach. See Poetaster^ 38, 180, note. 

301, 2.0. my fan. " When it is considered, that the handle 
of the fan was made of the most costly materials, there will appear 
no impropriety in making the fan one of the implements belonging 
to the vocation of a lady." Hawkins' note. 

301, 28. Low countries. Cf. Gosson {Pleasant ^ippes), 
"These Holland Smockes, so white as snowe. 
And gorgets brave, with drawn-work wrought," etc. 

301, 39. 'well headed. This refers to an arrow (prickshaft). 

301, 39. shootes his bolt. Bolt was the arrow of the 
cross-bow, as distinguished from shaft, the arrow of the long-bow. 
There is a play on the words here in connection with the name 
Prickshaft, the term applied to arrows used in shooting at pricks or 
targets. 

301, 46. knighted. Sir Vaughan, Sir Quintilian, and Sir 
Adam were all knights. 

301, 47. device. Heraldic device, or symbol. 

302, 59. brow^ne study. Probably from *' brown " in the 
transferred sense, dark, gloomy. A reverie. 

302, 65-66. dog ... to a Christian. There may be 
in this the idea that to Mohammedans the dog is unclean and must 
not be touched. 

303,76. bunce of reddis. There is, perhaps, a double mean- 
ing in this expression as used here, though the ordinary meaning is 
common enough. Cf. Jonson, E'very Man in His Humour^ i, 5 : 
**a bunch of radish and salt to taste our wine." 

303» 7^- yawning Captaine. This refers, perhaps, to 
Tucca's stuttering. See 286, 164, note. 

303* 79- sore mouth. Minever humorously explains 
Vaughan's pronunciation by suggesting that he has a sore mouth: 
or else the parenthesis is misplaced and should be after ** reverence." 
** Sore mouth " would then refer to Tucca. 

303, 85-88. rebato . . . pinning . . . poaked. See 
273, 64, note. 

303, 90. the cloute. The mark in archery, originally a piece 
of while cloth in the centre of the target. 



303, 94. Musicke . . . silver voice. Cf. Fortunatus 

(Dekker, Pearson, i, p. 97), "sweete Musicke with her Silver 
sound," on which the note is, "... 'music with her silver 
sound ' is a quotation from a poem by Richard Edwards, in The 
Paradise of Dai?ity Dt'vices, 1576, 1597." 

304, 107. key-coide. Cold as a key; cf. Shakespeare, 
RicA. Ill, I, 2, 5, " Poore key-cold figure of a holy king." 

304, 114. head. Maidenhead. 

304, 116. maide. A play on the word *'made." 

305, 141 Sapline, Chaplain. There is a distinction between 
priest and chaplain, the latter being a personal attendant on the 
god. 

305, 142. prease, old form of ''press." 

305, 148. shalke for shees. Chalk for cheese, a proverbial 
expression. 

306, 153. an't. An it, if it. 

306, 155-156. ballads and rymes. Jonson wrote a num- 
ber of songs (ballads) in Cynthia's Revels and Poetaster, as well as 
others. 

306, 156-157. inke. . . . gall. See 289, 240-242, note. 

306, 167. Miniver cappe. A play on "Miniver," which 
was a kind of fur. 

306, 170. saking of the seetes. The shaking of the 

sheets, a dance, Nares says, "often alluded to, but seldom without 
an indecent intimation," as here. 

307, 186. pieade my duetie. Homage, submission to a su- 
perior. 

308, 193. beauties melt. The quarto reads " beautie's 
melt," evidently a misprint. 

308, 196. confirmed Leige. Liege lord, or lord para- 
mount. This refers to the feudal system under which the lord had 
the right of the marriage night with the bride, a right which the 
king claims with Celestine — hence the play. 

308, 200. fadom. A fathom was the extent of the out- 
stretched arms. Here it means what they embrace, the bride. 

309, 214, course. Coarse. Terril tries to prevent Celestine from 
going to the court, but is dared by the king and yields. 

310, 225. yellow. Bilious, jealous. 



41 6 ji>0tffif 

311, 246. Endimions. The myth of Endymion and the 
moon was a favorite among the Elizabethans. 

312, 5. pee and kue. This expression has several mean- 
ings ; of best quality, precise, careful, e. g. cf. 1612, Rowlands, 
Kna-ve of Harts (Hunterian Club), 20, ♦* Bring in a quart of Ma- 
ligo, right true ; And look you Rogue that it be Pee and Kew." 

312, 6. broad backe. Allusion to Jonson's physical size. 
312, 10. critist. Critic. 

312, 15. proceede poetaster next commencement. 

** Proceed" is a word for advancement to a degree at an English 
University Commencement. 

312, 18. smell somewhat of Horace. If Asinius is 
Drayton (see note 280, i) the allusion is to his poetry. For the 
literal meaning see Poetaster^ 82, 420. 

312, 20. it passes. " It passes all expression, a common 
way of speaking in our authors day "(Hawkins). 

312, 23. connive. A word ridiculed by Jonson in Cynthia s 
Re've/s, IV, I ; Moria, "... howsoe'er you seem to connive." 

3I3> 30 by this feather. See Poetaster^ 64, 1-2, note. 

313, 35. set of letters readie starcht. A '<set*' 
was one of the plaits of a ruff. Hawkins (p. 131) has a note to the 
effect that Elkanah Settle, who was city poet, "... was wont 
when he published any party-poem to send copies round to all the 
chiefs of his party, accompanied with addresses, in order to get pe- 
cuniary presents from them." 

313, 42. prettie diminutive roague. This is thought 
by Mr. Hart (see 280, i, note) to be an allusion to Drayton 
(Asinius) who was of small size. 

313, 44. Ma. Justice Shallow. A character in The Second 
Part of King Henry IVznA. also in The Merry Wi'ves of Windsor. 

313, 48. epigrams upon Tucca. See 286, 168, note. 

313, 49. divulge. An allusion to the custom of circulating 
poems in manuscript, to which other references are made in this play. 

313, 50. Crispinus . . . Crispin-asse. See 296, 406, 
note. 

313* 5>- play-dresser. See Poetaster^ 80, 367, note. 

313* 53- cut an innocent Moore. See Poetaster^ 78, 
305-306, note, and 81, 396-402, where Jonson quotes andparo- 



dies Peek's Battle of Alca-zar. Dekker himself ridicules Peele's play 
(341, 191). We do not know what Dekker refers to when he 
says that Jonson *' cut an innocent Moore i' th' middle," etc., 
though of course the reference is to plays. Mr, Fleay offers the 
only plausible explanation thus far discovered, but it is largely con- 
jectural. He says {Biog. Chron. i, 127-128) : "This play [The 
Life and Death of Captain Thomas Stukeleyl is evidently by three 
authors. Act v, I think by Peele ; the Alcazar part. . . . The 
altered play, dating probably 1600, was not made for the Admirals 
men — their name would have appeared in the title — but more 
likely for the Paul's boys." 

"All this is explained in Satiromastix, Sc. 4, where Horace 
(Jonson) says Fannius (Dekker, Crispinus, /. e. Marston's play- 
dresser), to make the muses believe their subjects' ears were starved, 
and that there was a dearth of poesy, cut an innocent Moor i' th' 
middle to serve him in twice, and when he had done made Paul's 
work of it." Dekker had patched up the play with half of one by 
Peele on the Moor Mahomet, and then published it. Satiromastix 
must, then, date after Aug. 11. See also Biog. Chron. 11, 154, 
and Ward (1899), Hist. Eng. Dram Lit. i, 370-371, note. 

314,62. Rosamond. The beloved of Henry II, Rosamond 
Clifford. Sam.uel Daniel wrote a popular poem Rosamond, 1592. 

314, 72-74. That we . . . Straine. These lines are quoted, 
not exactly however, from the Prologue to Cynthta" s Re-vels. 

314, 76. thy poesie . . . wreathes. See Prologue to 
Cynthia's Revels^ to which Dekker may refer : "The garland that 
she [his muse] wears," etc. 

315, 2. the bow hand wide. The bow hand was the left, 
in which the bow was held. " Wide " means wide of the mark. 

315, 2. a long yard. "Yard" has several meanings, a kind 
of arrow, a measure of length, etc. 

315, 6. first man. This expression occurs a number of times 
in the literature of the time. Cf. The Witch of Edmonton, iii, I , 
** I am thy first man." 

315,7. I. SirQuintilian interrupts himself when he notices Sir 
Adam. 

315, 8. flye faire. Fly straight, or shoot fairly. 

315, 13. stile of majestic. Title of majesty. 



41 8 jl^otefli 

316,33. in hugger mugger. In secret. 

316, 35. blev7 coate. The coat or livery of a serving man. 

317, 49. markes. A denomination of weight formerly em- 
ployed (chiefly for gold and silver) throughout western Europe; its 
actual weight varied considerably, but it was usually regarded as equi- 
valent to 8 ounces. ** In England after the conquest . . . the value 
of a mark became fixed at 1 60 pence =131. 4</. or | of the £ stir- 
ling." N.E,D. 

317, 56. Salamander. A kind of animal which it was 
supposed fire could not burn. The name was used also for a kind 
of poker. 

318, 75. on urd. See 318, 81, "one urde," one word. 
318, 82-83. breake my armes. Evidently the letter was 

sealed with his arms. 

318, 88-89. no libell . . . my hand. See Poetaster^ 

141, 61-62. 

318, 97. single and simple. "Single " means one in num- 
ber; ** simple " means composed of a single ingredient. ** Simple" 
means also foolish, hence the play on the word. 

319, loi. ride me. Double meaning. To ** ride " was often 
used in the sense of '* make a fool of," *' treat at will.'' 

319,108. Godbo'y. See 361, 193, " God boygh." " Good 
bye " appears in various forms, God be wy you, God b'uy, God buy 
you. '* It has been suggested that the phrase may have originated in 
God buy you = ' God redeem you,' and that association with God be 
tuith you is of later date. This is not supported by the earliest forms, 
which as a rule show that the expression was known to be a 
clipped one." N. E. D. 

319, III. Universalities. In Aristotelian logic the Uni- 
versalities .were five in number: — genus, species, difference, prop- 
erty, and accident. 

319, 114. nose from his joynt. This may have either of 
the meanings : to put his nose out of joint = to supplant ; or to 
joint one's nose of = to trick one out of. 

319, 124. a good ansell. Play on the word angel. See 
285, 132-134, note. 

320, 126. hue and crie. Hue is an old word for cry. O. F. 
hu = outcry. 



jliotr0 419 

320,138. Dives. Probably the common reference to 5r. La>J<f, 
XVI, 19—31, the Story of Dives and Lazarus, and not a reference, 
though it may be, to an old moral dialogue, Di-ves or Di-ves and 
La-zarus^ mentioned in Sir Thomas More. See Fleay, Biog. Chron. 
II, 292. The name Dives is from the Vulgate. 

320, 139. Frier Tucke. In the Stories of Robin Hood, 
Friar Tuck is represented as a gourmand. 

320, 146. Mirrour of Knighthood. The Mirror of Princely 
Deeds and Knighthood is the name of a Spanish romance trans- 
lated into English by Margaret Tyler and published in nine parts, 
1599-1 601. See Brit. Mua. Catalogue of Printed Booh. 

320, 149. signe of Capricorne. The sign of the Zodiac 
which the Sun enters the latter part of December, a winter con- 
stellation ; hence the allusion to Tiborne ** cover'd with snow." 

320, 150, Tiborne. All references to Tyburn suggest, of 
course, Jonson's having received the Tyburn mark, **T," branded 
on his thumb after the killing of Gabriel Spencer the player in a duel. 
See 285, 141-142, note. Tyburn was the place where the gallows 
stood. It was near what is now Connaught Place in London. 

321, 155. Friskin. A gay, frisky person, also a lively action, 
like a dance. See 394, 17. 

321, 156. ath hip. A term in wrestling. To have a person 
in one's power. 

321, 160-161. Lady ath Lake . . . Sir Tristram. 

Sir Tristram or Tristan is the hero of one of the Arthurian ro- 
mances. The Lady of the Lake was Vivian, the mistress of Merlin. 

321, 161. thy chaine. See Poetaster , 23, 227, note. 

321, 163-164. glove . . . brooch. See Poetaster^ 21, 
187-188, note. 

321, 169. him ; /. e. Sir Adam, to whom Tucca immediately 
refers. 

321, 173. Cucko. A man who debauches or tries to debauch 
another man's wife. Cf. "cuckold," the man whose wife has 
been unfaithful. 

321, 173-174. gold-finch. A person with gold, referring to 
Sir Quintilian. The term was a common one. Cf. Cynthia'' s Re- 
vels, IV, I, "you shall be no more Asotus to us, but our gold- 
finch." 



420 ji^otce 

321 176. Belimperia. The heroine m Kyd't Sf>arhh Trag- 

tds and in thr old Jcror.tmc, or lltfror.imo. 

721 1-- bald Derricke. This is said to Sir Adam, who 
wafbald. Derrick was the hangman at Tyburn. He is frequently 

""Trr^S. Susanna . . . elders. The. tor>- in the Apocry-' 
nha It was the basis of a plav by Thomas Garter, ThrCorrc^y oj th, 
Mou rirtuou^ ard godiy Susanna, I 578 (Flcay, B,og. Lhron. i, 
2-J^), and also the subject of a ballad. 

,22 185. father time. Addres.ed to Sir Adam. Dekker 
says "the bald-pate her father, Time, has no hair to cover hi. 
head " The Guh Hornbo.k (Temple classics, p. 24)- 

322, 186. mother winter. ». t. Mmiver. See 320, 149. 

""'-^22 188-189. mother Mumblecrust. One of the char- 
acters in Ralfh Router Dohur , ,66. The name .s used by Eyre 
in The Shoemakers Holiday {Dckk.r, Pearson .. p. 19) *nd >" ^''- 
W<.r Gr„«// (Sh. Soc. .'84., p. 66). Madgr .n f f'-^-"^';"' [ 
( ,r^-^ is called " Madge Mumblecrust." Mumblecrust rr^cans a 

oothlei^ person. See 325. ^7^ ^°""r'"^^V"'"'"v!l 'Iher of 

322, 193. Dunce. Duns Scotus the SchoUsUc philosopher of 

the thirteenth century. - 

323,212. Gutter-Lane. Cheapsidc was once so called from 

Guthurum, sometime the owner. . ^ ^ • i j •• />\ 

,2-^,214. gods Lord. An oath. "God IS Lord (?). 

323, 22.. mother Bunch. A famous alew.fe of the umc, 
often referred to. . ^ /:« ,fc, fXr 

,23, 222. Queenc Gwymver. See 321, ^60-161, for 
other references^ to the Arthurian stories ; cf. also the old play 
The Mnforcu.es of Arthur, .587-88, by Thomas Hughes. (Fleay, 
Biog. Chron. I, 307.) Guenevera is one of the characters. 

I23, 1x7. discover. To uncover ; hence the pUy on the 

''%24 234-235. Charing-crosse. One of the crosses set up 
bv Edward I wherever the body of Queen Eleanor rested in the jour- 
r,ev to Westminster Abbey in 1291. The original cross, which be- 
came " decay'd," was removed by order of Parliament in . 647. U 
,tood where the statue of Charles I now stands m Trafalgar Square. 



jpotrsf 421 

A modern copy of the cress is in front of Charing Cross Station in 
London. 

324, 239-240. Long meg a Westminster. A curious 
book first printed in 1582 is entitled " The Life of Long Meg of 
Westminster : Containing The Merry Pranks She Played in her 
Life Time, Not Oneley in Performing Sundry Quarrells With Di- 
vers Ruffians about London," etc. She was a noted character in the 
time of Henry VIII, and is believed to have been buried in the clois- 
ters of Westminster Abbey. Siie kept a house of prostitution in 
Southwark. Henslowe {Diary, ed Greg, 1, p. 2l) mentions a play 
*' longe mege of Westmester," 1594. 

324,243. devill a Dovr-gate. The Devil of Doiv-gate and 
his Son was the title of an old ballad on which a play was based in 
1623 (Fleay, Biog. Chron. i, 218). Dow-gate, or Down-gate, Hill 
leads to one of the old water-gates of London, an ancient Roman 
gate. 

324, 245. wide mouth P± Bishops-gate. "A seven- 
teenth-century trade token was issued from a house with the sign of 
the mouth in Bishopsgate street, and the Mouth appears in the 
rhyming list of Taverns, which is to be found in Heywood's Rape 
0/ Lucrece." London Signs and InscriptionSy P. Norman, I 893, p. 
64. 

324,248-249. Sweet dame Annis a cleere. The name 

of a spring (Stowe, Sur-vey, ed. Morley, p. 47). 

324, 254. Madge-owlet. A barn owl. 

324,258. Sislie Bum-trincket. This name occurs several 
times in The Shoemakers Holiday (Dekker, Pearson, i, pp. 14 and 
20) and in the Beggars' Song in The Jo'vial Creiv, by Richard 
Brome (1641). It is a humorous term applied to a woman, but the 
meaning is not clear — " Sislie " is a spelling of Cicely or Cisly. 
*' Bum-trincket," like " bum-roll," may refer to the dress. 

325, 263. Mother Red-cap. Henslowe {Diary, ed. Greg, 
I, pp. 70, 82, 83) mentions a play, Mother Red-cap, 1597, by 
Uravton and Monday. See 280, I, note ; also Fleav, Biotr. Chron. 
I, 157. The expression "Red-cap" occurs again, 389, 316. 

325, 267 a meere gentlewoman. Sec 300, 14, note. 
325, 268. a gentle and He nibble. Tucca plays on the 
words. A *' gentle " was a person of gentle birth, and also a kind 



422 iPotffli 

of worm used as bait for fishing. To *' nibble " was to take small 
bites, as a fish does of bait, or to fidget the fingers, or to play with 
a thing with the fingers. 

325, 269-270. cap-a-maintenance . . . naked sword. 

The cap worn as a symbol of dignity or official rank, or carried 
before a dignitary in processions. The cap and sword were borne be- 
fore the Lord Mayor, and before the Sovereign at coronation. 
** Naked sword " is used by Tucca with an obscene meaning. Cf. 
Chapman (ed. Shepherd, p. 299). "She ran upon his naked 
weapon, the most finely that ever lived." 

325, 271. Lattice cap. A cap made of lettice, a gray or 
whitish fur from a kind of polecat. A lettice cap was supposed to 
produce sleep. 

325, 275. hot-cockles. A game in which one player lay face 
down, or knelt with eyes covered, and, being struck by other play- 
ers, guessed who struck him. 

325,275-276. Gammer Gurton . . . needle. Gammer 

Gurton I Netdle, a play by Bishop Still, was acted in 1562-63 at 
court, and at Cambridge in 1566. Fleay {Biog. Chron. 11, 253). 

325, 277. thy teeth . . . like the arches. See 322, 
188, note, " mumblecrust." The Arches of old London Bridge arc 
often referred to. There were twenty of them, built of stone, and 
supporting houses. 

325, 280. stag . . . buffe. Stag = stag color, referring 
to the buffe leather which Tucca wore. 

325, 281. heer's velvet. Velvet was worn by courtiers. 

325, 288. gold-smithes stall. The goldsmiths displayed 
their wares on stalls. They were also bankers. 

326, 289. Ladie ath Hospital. 326, 299. Joane-a- 
bedlam. St. Mary of Bethlehem was the name of the priory 
founded in 1246 at Bishopsgate by Simon Fitz Mary. In 1547 it 
was given to the city of London as a hospital for the insane. " Bed- 
lam ' ' = Bethlehem. The word is used commonly for insane asy- 
lums. 

326, 293. payre of Knights. A pack of cards was called 
a "pair," and Knight was an old name for the knave at cards. 
(See Nares.) 

326, 305. frock , . . fOOte cloth, i. e. Minever's dress turned 



into a saddle-cloth hanging to the ground from the side of a 
horse. 

326, 306. carted, drawne. Dr. Scherer notes the play on 
these words. Bawds were " carted," that is, exhibited in the streets 
in carts as punishment. Criminals were '* drawn and quartered." 

326, 307-308. hood . . . Shipskin-Cap. See Poetaster, 
34, 79-81, note. The hood was worn by ladies. 

326, 312. Lucifer. Synonym for pride. Isaiah xiv, 12. 

326, 313. Maide-marian. A common expression for a pros- 
titute. "Maid Marian seems here to mean Robin Hood's concu- 
bine, not thelady of the Morris ; as most of the names Tucca throws 
out are taken from the popular old story books, and romances of the 
times." (Hawkins, p. 142. ) In Henslowe'si)/ary we find mention 
oi Robin HooJ {ed. Greg, i, pp. 83, 84, 85, 99/124, 125). The 
subject was a popular one. 

326, 314-315. Anthony . . . Cleopatria. The story 

was familiar. It was treated by Samuel Daniel in The tragedy of 
Cleopatra, 1 593, and of course by Shakespeare in Antony and 
Cleopatra. 

326, 316. Alexis secrets. Alexas is an attendant on Cleo- 
patra in Ajitony and Cleopatra. The reference is perhaps to the 
scene with the Soothsayer (i, "i). 

326, 316-327, 317. Rose . . . Beare-garden. Paris 

garden was a tract on the Bankside in Southwark which derived its 
name from Robert de Paris, who had a house and land there in the 
reign of Richard 11. That land and its immediate vicinity became 
the locality in which were situated the Bear-Garden, a place where 
exhibitions of bear-baiting, etc., were given, and several theatres, the 
Swan, the Rose, the Globe, and later the Hope. 

327, 321 . Mary Ambree. Mary Ambree is said to have fought 
at the siege of Ghent in 1584 to avenge her lover's death. The 
famous ballad on the subject is given in Percy's Reliques. 

327, 325. Newgate. The old prison, which existed until a 
few years ago. Walking ** two and two in Newgate-fashion " is 
mentioned by Shakespeare in Henry IV, Pt. i, iii, 3, 104. 

327, S. D. with papers. Perhaps this is a reply to Po«/airtr, 
V, 3, where papers written by Horace, Crispinus, and Demetrius 
respectively are introduced. 



424 jpote0 

327, 330- Epigrams. These played an important part in the 
interchange of courtesies. Cf. M-irston, f/j;^^OTti/V(>r; (The Author in 
Prayse), 1. 32: " Now, by the whyps of Epigramatists He not be 
lasht." 

327, 33'- disperst. The circubting of poems, etc., in man- 
uscript was common. 

328, 333. Lege Legito. Read, Read. 
328,334-335. monstrous . . . scene for money. An 

allusion to Tucca's " skcldring " {Poeijster, 11, 17, note) and to 
Poetaster^ 23, 229-232, ** they doc see monsters, sometimes. . . . 
Pyrg. Better cheapc [i. e. cheaper] then he shall see you." There 
is probably an allusion to Tucca's having been presented on the stage 
in Poetaster. 

328, 341. vilye. The word ** vile " ( Lat. T/V/f, cheap, value- 
less) meant worthless, ignominious, in Jonson's time. Cf. Phi/, in, 
2 1 ,'• our vile body . ' ' The adverb ' ' vilely * ' had a similar meaning, 
as here. 

328, 346. atheist. Actors were regarded by many (e. g. 
Gosson) as immoral and profligate characters. See Poetaster, 14, 9, 
and 15, 42, notes. 

Kyd and Marlowe were both accused of being atheists. Sec TJie 
fVorks^>f Thomas Kyd, ed. Boas, pp. cviii-cxvi, for documents con- 
taining the accusations. 

328, 349 he feedes on all. See Poetaster, yS, 317. 

328, 353. young gentlemen. Dr. Schcrer suggests that 
this may refer to the actual age of Demetrius (Dekker). We do not 
know the date of Dekker's birth, but it was probably about 1570. 
See Life of Dekker in this volume. 

328, 354. Stinckers. Low fellows From a number of passages 
it seems that this term was used in many cases almost literally. 

328,356. poet . . . untrust. CLi\t\cofSatiromastiXyZnd 
Poetaster, 119, 33, and 152, 325. 

328, 357. Mum-pudding. Cf. Nashe's Lenten Stuffe (ed. 
Grosart, v, 269). "The nurse or mother mampudding." Stowe 
{Survey of London, ed. W.J. Thoms, 1842, p. 52) mentions a 
beer house in Tower Street Ward kept by •' one Mother mampud- 
ding." Dr. Scherer suggests that mampudding = mum-pudding, 
a pudding with mum or beer sauce. Is not mam-pudding, or mum- 
pudding rather, personally descriptive ? 



jl^otefl? 425 

329, S. D. florish; . . . sennate. The ''flourish" con- 
sisted of scales played on the " waits," the instrument correspond- 
ing to our hautboy. The ** sennat " was the natural notes of a 
trumpet. 

329, ^ A kisse the ditty. Perhaps an allusion to Cyn- 
thia i Revels, iv, where Hedon sings The Kiss. A ditty is a com- 
position to be set to music, and also the substance or burden of a 
poem. 

329, 3-4. your . . . night. The quarto punctuation is re- 
tained, but what is the meaning of 1. 4 ? Is the King reminding 
the bride of the privilege of kings under the feudal system (sec 
308, 196, note)andof Terill's promise (310, 139-242) to bring 
her to court ? 

329, 9-10. behinde noone. After noon. 

331, 40. motions. See Poetaster, 80, 364, note. 

331, 42. our. Dr. Scherer corrects quarto reading, "out." 

332, 75. long stocking. See Poetaster, 58, 201, note. 
334) !'• hounds. Sir Vaughan used the word "brace," 

which was applied to hounds. 

334, 12. a. He. 

334> ^9- in hipocritnes. He really does not want Sir Adam 
present, but pretends that he does. 

335> 45- small timber'd gallant. This refers to Asinius, 
who, in Mr. Hart's opinion, is Drayton (see 280, i, note). Drayton 
was of small size. Cf. also Poetaster, 35, iio-lii. 

336,52. S'Weetest oathes. Referring primarily to the oath 
on the sweetmeats, but see Cynthia' s Revels for ridicule of courtiers 
and their oaths. 

337> 77-7^- balde . . . hairy. Baldness has always been a 
subject for ridicule. Dr. Small {Stage parrel, p. 124) states that 
the passages concerning baldness and hair "doubtless formed a part 
of the Vaughan plot of the original tragedy, having been there de- 
livered by other characters; for in neither address is there any allu- 
sion to the events of the quarrel, or any imitation of the style of 
Jonson or Marston." Dr. Small mentions " Richard Harvey's De- 
fence of Short Hair, and Nash's hits at that defense in Ha've ivith 
you to Saffron IValden and Summer" s Last Will. The dispute dates 
back to Dio Chrysostom's Praise of Hair [K6/X77$ €7Kci/xio»'] and 



426 jpOtCfi 

Synesiut* Encomium Cal-vitii ; the latter work was Englished by 
Abraham Fleming in 1579." 

That the passages in question had nothing to do with Jonson and 
belonged to "the original tragedy" is an assumption at variance 
with the treatment of Horace throughout the play. Practically every 
line assigned to Horace, or spoken to or about him, in the play is 
based on some fact or opinion concerning Jonson, but not necessa- 
rily connected with this particular quarrel. The ridicule of baldness 
and the praise of hair is an old topic. Dekkcr discusses it in T/ie 
Gu/s Hornbook, chap in. In the Ccn-venutions with Drummond 
(ed. Laing, p. 34) is an "Epitaph of a Longe Eearde " and (p. 31) 
the following one of Jonson's " Jcasts and Apothegms '* : *' One 
wlio wore side hair being asked of ane other, who was bald, why 
he suffered his haire to grow so long, answered, it was to sie if his 
haire would grow to seed, that he might sow of it on bald pates." 
Laing's note is: "This jest of beards running to seed, * to sow 
bald pates withall,* is introduced by Jonson in The Staple of Neiviy 
Act III, Scene i." 

We do not know what these passages in Satiromastix refer to ai 
concerning Jonson. Horace is called " hayrc-mongcr " 345, ^^j 
and " lyme and hayre rascall" 293, 332 There is in Harleian 
MS. 6057, fol. 9, and in Additional MS. 21,433, fol. 109, of 
the British Museum a Poem on Dark Hair ascribed to Jonson. Mr. 
Percy Simpson, who called the editor's attention to this poem, 
writes ai follows : "The poem on Baldness in Satiromastix, pur- 
porting to be a parody of Jonson, gives some slight support to this 
ascription, but the lines have other claimants. They are printed in 
Pembroke and Ruddier's 'Poems* with the initial *R.* Harl, 
MS. 6931, fol. 8, ascribes them to Walton Poole; Sloane MS. 
1792, fol. 23, and Additional MS. 30,982, fol. 152, give the 
poem anonymously with the heading ' On Mrs Poole.' The poem 
has also been claimed for Donne, and has been printed by Mr. 
E. K. Chambers, in his edition of Donne, among the ' Doubtful 
Poems.' Mr. Chambers adds farther details about extant MS. copies, 
but gives no clear reason for assigning the piece to Donne." 

337> ^9- He of Man. The expression probably has reference 
to the peculiar laws by which the Isle of Man still enjoys a large 
measure of independence. 



il^otesf 427 

338, 125. scurvy scalded reason. Baldness was often 
the result of scurvy and scald. 

339> 1 3^- enameld. Enamoured. 

339» '37- worshipfull harper. Addressed to Sir Vaughan 
and referring to the use of the harp by Welsh bards. 

339> ^4^- Cadwallader. The name of the Welsh king, 
son ofCadwaller, who, in a prophecy of Merlin, was to return and 
expel the Saxon from the land. 

339, 145. sering. Perhaps a misprint for " string." Asin- 
ius, to whom it is addressed, is in 342, 218, called Lute-string by 
Tucca. T. M. Parrott, Moi. Lang. Review, vi, 3, p. 401. 

339> ^5°* fye'st. A corruption of "foist." "He that 
picks the pocket is called ayorV." Dekker, The Belman of London 
(Temple classics, p. 145). " Foist" means also to break wind, 

339, 150. Hamlet revenge. This is probably an allusion to 
the old play of Hamlet and not to Shakespeare's play, although the 
latter was entered S. R. 1602, xx"i July, as "a booke called the 
Revenge of Hamlet Prince Denmarke as yt was latelie Acted by 
the Lo: Chamberleyn his Servantes." The following passages refer 
to the old Hamlet. " Lodge in his fVits Miserie, 1596, speaks of 
* the ghost which cried so miserably at the Thcator like an oister- 
wife, Hamlet, revenge.' " " Lodge's allusion . . . suggests a 
performance of it at the 'Theater' in 1 596, and it would appear 
to have been brought again about i6o2 at Paris Garden, for Tucca 
in Satiromastix exclaims, " My name 's Hamlet Revenge : — thou 
hast been at Parris Garden, hast not?" fVorks of Kyd, ed. Boas 
(1901), pp. xlvii, liii, 

339, 151. Parris garden. See 326, 316, note. 

339, 152. Zulziman. Probably a reference to Kyd's Soliman 
and Perseda (1599), as suggested by Ws-rd (Engl. Dram. Lit. I., 
p. 311, note). As Mr. Boas {Kyd, p. xci) says, "a more unmis- 
takable reference [co that play] occurs later, when Tucca salutes the 
King as ' great Sultane Soliman.' " (384, lyo-) 

340, 157. Fulkes. Probably an allusion to Fulk Fitz Warine, 
an outlaw on whose adventures some critics think the stories of 
Robin Hood were founded. Dr. Scherer suggests that Fulkes may 
have been the name of a bear. 

340, 159. jorneyman player. Sec Poetaster, 24, 258, note. 



428 jl^otetf 

340,161. good face upon't. Perhaps an allusion to Jonson't 

appearance and also to his ability as an actor. See Cynthia s Re'vels^ 
II, I, where Amorphus gives an exhibition of face-making, and TAe 
Returne from Parnassus, ii, 4, 3, where Kemp does the same. Cf. 
328, 345, " poore honest face-maker." 

340,163. play-wagon. Theatrical companies gave perform- 
ances in the provinces. See Schelling, Elix. Dram, i, p. 389, and 
Halliwell-Phillips, Visits of Shakespeare^ s Company to Pro'vincial 
Toivns. 

340, 164. Jeronimoes part. Sec 297, 437, and 298, 
461, notei. 

340, 165. StageriteS. Humorous word from ♦* Stager," 
and also a play on the name " Stagirite " of Aristotle, who laid 
down laws for the drama. 

340, 166. He of Dogs. A marshy tract on the left bank of 
the Thames opposite Greenwich. Cf. The Return from ParnassuSy 
Part II, V, 3, " writts are out for me, to apprehend me for my 
playes, and now I am bound for the lie of doggs." 

340, 167. Guy. A reference to Guy of Warwick, the hero of 
an old romance and of a ballad. The name as here used may have been 
that of a dog at the Bear-garden. 

340, 169. read, lege. A reference to Jonson's having been 
saved from the gallows by his ability to read, or '* con his neck 
verse." See 285, 141, note. 

340,173. farding candle. An expression implying worth- 
lessness, insignificance. 

340, 1 74. Damboys. A reference to the same subject as 
Chapman's play, Bussy d^ Ambois (1607, 40), probably of 1603. 
Fleay says [Biog. Chron. i, 59) : *' The line in Satiromastix . , . 
seems to be taken from ;* play on the subject earlier than 1 601." 
See E. E. StoU, Mod. Lang. Notes, xx, zo6. 

340, 177. nittigrams. Humorous word of Vaughan's for 
Epigrams. 

340, 178. sprite ath buttry. The sprite of the buttry was 
the spirit of wine. N.E.D. 

341, 187. metheglin. A kind of mead peculiar to Wales. 
341, 188. whore a Babilon. Dekker's play The IVhort 

of Babylon was produced in 1 605, but was based on an earlier play, 



jl^otesf 429 

evidently, which Fleay thinks was Truths Supplication to Candle- 
light [Henslo'we'' s Diary, ed. Greg, i, 58 and 117 and 11, 210). See 
Fleay, Biog. Chron. i, 133. 

341,191. Feede . . . Calipolis. ^tc Poetaster ^Zi, ^^6- 
402, note. 

341, 200. Dam me. Cf. 348, 103 ; also Poetaster, 171, 
68-172, 80. 

341, 208. cumrade. Among soldiers, a tent-fellow, origi- 
nally one who shares the same room. 

342,215. winter-plummes. Cf. Dekker, The Ra-vens Al- 
manacke (ed. Grosart, iv, 187) : *' Know when Winter-plomes are 
ripe and ready to be gathered." 

342, 218. Sir Eglamour. One of the Knights of the Round 
Table, and the hero of a ballad which tells how he slew a dragon. 
The story of Sir Eglamorc was published in Edinburgh, 1508. Sir 
Eglamore\% mentioned in Stationers Register (Arber, 11, p. 186), 
Jan. 15, 1582. 

342, 218. Lute-stringe. See 339, 145, note. 
342, 225. Hobby-horse. A character in the old May games. 
See Poetaster, 33, 60, note. 

342, 235. mum. Here used as a verb. Probably, as Dr. Par- 
rott suggests {Mod, Lang. Review, vi, 3, 405), short for mum- 
chance, a game with dice. 

343» 239. mum-budget. Perhaps originally the name of a 
children's game where silence was required. N.E.D. 

343,242. great and . . . little sword. "The fashion 
of wearing two swords is humorously described by Butler, Hudibras, 
B. I, Canto i, *' This sword a dagger had, his page." Hawkins. 

343, 246. COSSens Garman. cousins german. 

343> 247-^48- reversion of the Master of the King's 

Revels. ** Ben Jonson obtained from King James a reversionary 
grant of the office of Master of the Revels, but Jonson never de- 
rived any advantage from this grant, because Sir John Astley sur- 
vived him." Malone remarks that from the passage in Satiromastix 
it ** should seem . . . that Ben had made some attempt to obtain 
a reversionary grant of this place before the death of Queen Eliza- 
beth " (Malone, The Plays of fFilliam Shakspeare, vol. 11, p. 230, 
Basil, 1799). 



430 Jl^otes 

343, 248-249. Lord of Mis-rule. " The invention and 
management of such shows certainly formed a prominent function 
of the ilominus fesd . . . variously known as the Christmas Lord, 
or the Lord or Abbot of Misrule. The establishment of a permanent 
Master of the Revels, in 1545, by no means abolished the Lord of 
Misrule." Schelling, Eliz. Drama, i, 76. See also Poetaster, I79» 
the Master of Revells, note. 

344, 264. paralels. See Poetaster, 15, 33, '* are wee para- 
lells." 

344, 271. I owe God a death. Cf. Henry IV, Pt. i, v, 

I, " Why, thou owest God a death." 

345> ^7- Pasquil's-mad-cap. Nicholas Breton published 
in 1600 a book called PasjuiTs Mud-cap. The name Fasquil, or 
Pasquin, is said to have been that of a tailor in Rome, in front of 
whose shop was placed a statue, on which libels and satires were 
posted. The authorship of these was attributed to the tailor, whose 
name became adopted as a word for satires and jests. 

345' ^7- rnother Bee. Mother Bee is one of the characters 
in the Interlude, The Alarriage of Wit and Wisdom, I 579 (5^. 
Soc. l846,ed. \\z]!^VN^\\ 2,n^ Early English Dramatists, T.^. Farmer, 
1908). See 390, 354, note. 

3455^9- basket hiltes. Swords with basket-like protection 
for the hands. 

345,22. hayre-monger. Referring to Horace's poem, 337, 
84-338, 122. See also 293, 332, note. 

345, 31. Scanderbag'. Tiie famous Albanian, Georg Kas- 
triote, 1403-1468, who, under the name Scanderbeg, fought 
against the Turks. In the Stationers'' Register for E. Allde, 3d July, 
I 601 , is entered The true history of George Scanderbage. See Flcay, 
Biog. Chron. 11, 318. 

346, 39. my red flag. A reference, perhaps, to Marlowe's 
Tamburlaine, iv, 2, Il6-li7(ed. Bullen) : 

** But if he stay until the bloody flag 
Be once advanced," 
Cf. also Shakespeare, Coriolanus, 11, i, 84, and Henry V, \, 2, 
lOl, to which Dr. Scherer refers. 

346, 45. Turke-a-ten-pence. An expression of contempt 
which occurs a number of times in Elizabethan literature. 



346, 50. COlde Cornelius. Cf. Nashe, Pierce Penilesse : 
" Men and women that have gone under the South pole (Alias, 
Mother Cornelius meridian) must lay off their furde nightcaps in 
spight of their teeth, and become yeomen of the Vinegar bottle," 
etc. On their passage Mr. McKerrow {Naske^ p. 182, 3-5) re- 
marks : '* The tubs used for the cure by sweating, of the Venereal 
disease arc generally called ' Cornelius tubs.' " 

346, 51. Respice funem. This may be a rms^nnt, funem^ 
rope, for fincm^ end, or may glance at Jonson's duel, and escape 
from hanging, although addressed to Asinius. 

346, 52. my little cutlers shoppe. Addressed to Tucca's 
boy, not to Asinius. 

346, 53. slender gentleman. Mr. Hart thinks that 
Asinius is Drayton (see 280, i, note), and that this is a reference 
to Drayton's size. 

347, 60. Huon. Huon of Bordeaux was one of the heroes 
of the Charlemagne cycle of romances. Henslowe [Diary ^ ed. 
Greg, I, p. 16) mentions a play, " hewen of burdoche," 1593, 
the authorship of which is unknown. Mr. Greg says [Hensloive'' s 
Diary^ II, p. 1 58), "The only known edition of this romance, 
translated from the French by Lord Berners, which appeared in Eliz- 
abeth's reign, is dated 1601, but many editions have probably per- 
ished." 

347, 62. paper in 's bellie ; /. e. was padded with paper so 
as not to be easily hurt. 

347, 67. foule-fisted morter-treader. An allusion to 

Jonson's trade of bricklayer. See 361, 194-195, and 385, 201. 

347, 72, valliant . . . man of the sword. See Poet- 

aiter, 1 1 9, 20-22. 

347,73-80. A gentleman . . .humour. Jonson's plays 
are here mentioned by name. See Poetaster ^ 1 6, 46-65, also Sa- 
tiromastix, 363, 241-248, notes. 

347, 74. pennie-bench. See Poetaster, J 1,1 ^j, note. See 
also SatiromastiXy 394, 18-19. 

347, 75-76. squirrell . . . mermaid. Terms for pros- 
titutes. 
347, 80. legions and bandes. See Poetaster^ 72, 165- 

168. 



432 jliotfflf 

347,81. shoulder-clappers. Sergeants who arrest people. 

347, 84. mad Horastratus. Tucca plays on the name 
Horace, in thus pronouncing Herostratus, the name of a notorious 
Ephesian who in order to make himself famous set fire to the tem- 
ple of Diana. 

347, 85. killing a player. Sec 285, 141-142, note. 

348, 93. Palinodicall rimester. A reference to the Pal- 
inode at the close of C\nthia s Ret'tls. 

348, 94. SolCECismes. Cf. Poetaster^ 55, 124, note. This 
is Dekker's reply. 

348, 1 01. Quiddits. A word derived from L. quid by the 
scholastic philosophers, who discussed the "quiddity" or real es- 
sence of a thing. N.E.D. "Quiddits" are subtle distinctions. 
Tucca refers perhaps to the legal difficulties mentioned byjonson in 
the address to Mr. Richard Martin (see Poetauer, 3, note). 

348, 102. flirt inke. See Poetaster^ 175, 146-147. 

348, 106. Monsieur Machiavell. The celebrated Italian 
statesman, who died in 1527. Henslowe mentions a play, Matcha- 
•veil, 2 March, 1 591. {Diary, ed. Greg, i, p. 13). 

348, no. the man in the moone. The meaning seems 
to be : You swore that you were as innocent as the man in the 
moon. The man in the moon is often referred to in Elizabethan 
writings. There is no reference here to the story of Endymion 
mentioned, 3 10, 243-311, 247. 

349, 112-113. maligo-tasters. Maligo = Malaga, a kind 
of wine. (See 3 1 2, 5, note, quotation.) The word is formed on 
the analogy of poetaster, grammaticaster. 

349, 113, Cinocephalus. One of a fabled race of men with 
dogs' heads ( KVPOK^(pa\os) told of by Herodotus and Strabo, and also 
by Mandeville in his Tra-vels. 

349, 118. no faith. An allusion to the fact that Jonson be- 
came a Roman Catholic in 1598, as he told Drummond (Cowf, Sh. 
Soc. p. 19). 

349, 122. Alexander and Lodwicke. The name of a 

play by Martin Slaughter, mentioned by Henslowe {Diary i, ed. 
Greg, p. 45) 14th Jan. 1507. 

349, 122-123. sworne brothers. Properly brothers in 
arms, according to the old laws of chivalry. 



jRote0 433 

349, 123-124. Perithous . . . Theseus. Perlthous went 

wi th Theseus to the lower world to bring back Persephone. They 
appear in a scene in the Hercula plays (anonymous). See Fleay, 
Biog. Chron. 11, 303 and 304. 

349, 130-132. bring me . . . Lucian. A reference to Po<rr- 
aiter, V, 3, in which Jonson adapted a ocene from Lucian, in giving 
the pills to Crispinus. The Heiiconistes are Marston and Dekker 
(Crispinus and Demetrius). 

349» ^^35* parcell-poets. A term of contempt. See Poet- 
aster, 73, 186, note. 

349> ^35- shall sue: See 386, 226, where Crispinus and 
Demetrius bring Horace to trial as he had brought them in Poetaster ^ 
V, 3- 

349» J 37- in Forma Pauperis. A •' pauper " is, in law, 

'* one allowed, on account of poverty, to sue or defend in a court of 
law without paying costs [in forma pauperis).'" N.E.D. 

350, 141. little Hercules. Allusion, Mr. Hart thinks, to 
the small size of Asinius (Drayton). See 280, I, note. 

350, 151. Thomas Thomasius. The author of Thomae 
Thomasii Dictionarium^ IS^7> ^ book which appeared in many later 
editions. He lived 1553-1588, and was a printer as well as a lexi- 
cographer. The allusion is fixed by the reference to " ten thousand 
words." 

350, 162-163. to cry mum. The game of mum-budget. 
See 343, 239. 

350, 164-165. winke-a-pipes : Written also "wink-a- 
peep " and ** wincopipe," a name for the scarlet pimpernel. The 
term is here used as one of contempt. 

351, 168. Sampson. The story of Samson and Delilah 
(^yudges, xvi) was familiar. Henslowe mentions a play, The Boocke 
of Samson, July 29, 1602 {Diary, ed. Greg, i, 169). 

35^> ^7^- O Caesar. Caesar is of course a character in Pot/- 
aster, though this may not be an allusion to that play. 

351, 183. Trangdo. Probably, as Professor Bang suggests 
[Satiromastix, ed. Scherer, note), this is the same word as '* trang- 
dido " ; cf. ** dildo," *' dildido." " Dildo " is a word used in the 
refrain of ballads. It is also a term for a phallus, and a contemptu- 
ous term for a man or boy. N.E.D. Cf. c. 1650, Roxb. Ball. 



434 jl^otes; 

II, 455. *' She proved herself a Duke's daughter, and he but a 
Squire's son. Sing trang dildo lee." Cf. a.\so Ford, Lo-ver's Me/an- 
cJio/y, IV, 2 (1628), '* I will firic his trangdido " ; and TAe Fancies 
Chaste and Noble, iv, i (1636), *' I will tickle their trangdidos." 
As Professor Bang thinks, the word probably means '* buttocks." 

351, 186-187. crosse a this sword. It was common to 
swear by the cross of a sword, or, as here, by the sword and dagger 
crossed. 

352,202-205. button-cap . . . flawne. A Hawnewasa 
kind of pancake, and the term was applied also, as here, to a flat cap 
worn by Flash. See N. E. D. s. v. flawne. See 363, 243, note. 

354» 15- has. He has. 

355> 37- blazing starres . . . warres. Comets were be- 
lieved to foretell wars and pestilences. 

356, 56. He has . . . wit. A common proverb. Cf. Shake- 
speare, T1U0 Gent. HI, I, 361 ; Comedy of Err on, 11, 2, 84. 

356, 58. bush-naturall. Cf. Dekker, The Guh Hornbook 
(Temple Classics, p. 28), '* But let thine receive his full growth, 
that thou maiest safely and wisely brag 'tis thine owne Bush- 
naturall."'' Also Ray {Pro'verbs, p. 180), "Bush-natural, more 
hair than wit." 

356, S. D. this paradox. The discussion of paradoxes was 
evidently a favorite form of amusement. See Penniman, The War 
of the Theatres, p. 92.) 

356, 71. Wit whether wilt thou. A proverb ; cf. As You 
Like It, IV, I, 168, 

356, 71-72, Poeticall Furie. See Poetaster, 99, 120 note. 
357> 95-96. thalimum . . . crosse-stickes . . . 

polinoddyes . . . nappy-grams. Sir Vaughan plays on 
these words, as Dr. Scherer states. Thalimum = Epithalamium ; 
crosse-stickes = acrostics ; polinoddyes = palinodes (cf. Palinode 
at end of Cynthia's Revels) j poll = head, noddy = fool j nappy- 
grams = epigrams, nappy = causing sleep. 

357» 99- This . . . now. Hawkins assigns their line to 
Tucca, The quarto is correct, however, in giving it to Horace. It 
is an " aside," 

357, loi, ungodly face. See 297, 454-455, note, 

358, 106-107. poore fellow under Ludgate. There 



il^otes; 435 



was a debtor's prison at Ludgate, one of the old gates of London. 
See 294, 353, note. 

358, no. songs and sonnets. See Poetaster, 10, 5, 
note. 

358, 120. white neck-verse. See 285, 141-142, note. 
** White" was used as a term of favor in various connections. 

358, 123-124. burning Knight of the Salamander. 
See 317, 56, note. For a similar title, cf. The Knight of the Burn- 
ing Pestle, by Beaumont and Fletcher (16 10 ?). 

358, 128. clipst. To clip is to cut short or mispronounce. 
Jonson (Horace) criticised the language of his contemporaries in 
Every Man tn his Humour, Every Alan out of his Humour, Cyn- 
thia' s Revels, and Poetaster. **Clip" means also to embrace or 
holdfast ; hence the mention of " mouse-trappes," 359, 132. Dr. 
Parrott calls attention to the connection between "clip" and 
** treason " in this passage and quotes Henry V, iv, i , 246 ff. {Mod. 
Lang. ReTjieiv, vi, 3, 405). 

359» ^3^- Adam Bell. This is addressed to Sir Adam, who 
was bald. Adam Bell was an outlaw and archer, celebrated with 
Clim of the Clough and William of Cloudesley in a ballad. 

359, 143-144. vineger-bottle. Cf Nashe, Christ's Tears, 
note (ed. Grosart, p. 7). "It will bee some of their destinies to 
carry the vinegar bottle ere they die, for being so desperate in pre- 
judice." 

359> 15°- Uglie Pope Boniface. Dr. Scherer says, '* Bon- 
iface = bonne face. Naturlich ironisch." The adjective " uglie," 
however, makes it seem likely that here Boniface = bony face. 
Tucca calls Horace (388, 292), " leane . . . hollow-cheekt 
scrag." Macilente, who is perhaps Jonson himself, in E'very Man 
out of his Humour is described as '* lean Macilente," and " a rank, 
raw-boned Anatomy." 

359' ^53* Stab'd. Tucca stabs Horace with an apple, but it 
must be remembered that Horace was "muffled." 

360, 177. Lazarus. See 320, 138, note. 

361, 186. blunt as the top of Poules. The spire of St. 
Paul's, which was tall and pointed, as represented in the old pic- 
tures, was struck by lightning and burned June 4, 1561. The 
square stone tower, however, remained ; hence the expression, 



43^ /^OtfS 

" blunc as the top of Pooles. " In the fiir, 1666, the chorch wa3 
deacroyed. The present cathedral was built by Sir Christopher Wren 
and completed in 1 708 A contemporary account of the burning of 
St. Paul's is Tkt Tru€ Repirt ef tkt hurr.ing of tkt Siupie and 
CkMrck if PauT I IK Lezdci^ I 56 1, Reprinted in An Enginh Gsr- 
•«r, Tudor Traca. 

361, 187. aloe, cicatrine tongue. Bitter, like the Alot 

SubtriKa. 

361, 191. lanthorne and candlelight. The cry of the 
night watchman or " Bel-man." Cf. Tkt Be.'-.\Ian of Ltndcn and 
Lar.tktme and Candlt-iigkt^ the titles of two of Dekker's works. 

361, 194. Synmeys. Rcfiming to Jonson's early trade of 
bricklarer. See 286, 173- 

361, 197-198. rotten railes ... on Ponies head. 

See 361, 186, note ; '* railes " is used with double meaning. See 
298,464, note, "rayUng." Cf. Dekker, The Guli HzmhiKk 
iTeTT.ple ClaKics, p. 371, "to the top of Powles steeple , , . 
uke heede how tou looke downe into the yard ; for the railes are 
as rotten as your grcat-gra.'-idfarher." 

361,101. I am Sir Salamanders. Tucca had btrodaced 
Vaughan secretly, 356, S. D. , having dismissed Flash (Salamander), 
352, 107. 

361, 105. blankets. Tc^s^.-g in a blanket was eridently a 
common punishmfnt Cf. Dckkcr, Tke Gul: Hornbook (Temple 
classics, p. 53), " you shall disgrace him worse then by to«ing him 
in a blanket, or giring him the bastinado in a tavern. ** 

361, ^ol. Venice glasses. Cups or goblets <A glass made in 
Venice. 

361, 209-110. bandy . . , racket. Terms in tennis. A 
bandy was a stroke with the racket, or the ball so struck. 

361. 110. Wlien. Used absohitely, meaning ** ready," •' now, 
then ! '* 

361.111. mad Tamberlaine. ADusion to the character of 
TimburlaL-.c, as presented in Marlowe's play, Tamburlaine tkt 
Greet, 158-'. 

361, 112. morter. See 347, 67, note. 

362, 119. Ont of this infamous. Horace had been 
bryjght in ♦* muffled," stabbed with an appie, which he thought 
was a dagger, and towed in a Ua&ket. 



S^Ott$ 437 

362, 128-130. actions . . . law. See PcftMte^, 19, 140, 
note, and 17I, 69, note. Also the address to Mr. Richard Martin, 
Pceijster^ 3, 

362, 133. Skip-Jacke. "The merrythought of a fowl, 
made into a little toy by a twisted thread and a small piece of stick. " 
{Ha/Iizvell.) Also, a shallow, impertinent fellow ; boys who show 
off horses. 

362, 234-235. arrogance and impudence, and ig- 

noraunce. Thii refers to C\r.:'.:Ss Rne.'s, 11, I, Mt^.wy (of 
Anaides), '*. . . he has two essential parts of the courtier, pride and 
ignorance ; . • . 'Tis Impudence itself, Anaides ..." and Cvb- 
thtjs Rei-els, in, 2, Crites . of Hedon and Anaides) "Both impudent 
and ignorant enough" ; also Pcxtastrr, IQO, 155-136. There are 
several similar passages. 

362,23s. puncke. Punch, with perhaps a play on *' punk." 
pincke. To pierce with a rapier or sword, pumpe. To 
drain or exhaust, perhaps here referring to the motion in tossing in 
a blanket. 

363, 241-246. He tell . . . conscience. This is an attack 
on Jonson's theory oX Comedv, as set forth in the Prologue to 
Ei-ery .Mjr: in His Humour, where he objects to the means em- 
ployed bv dramatists to interest and amuse their audiences, and sap 
that he will not resort to such devices, but will present 

"... deeds and language, such as men do use, 
And persons such as comedy would choose, 
When she would shew an image of the times." 
363,242. cittizens. SeeP-ir.'jjr.", 32, 35, note. Alblusand 
Chloe (in Poftast:-) were in Dekker'smind when he wrote S^tiro- 
mjsrix, for Tucca calls these characters names, which arc here 
repeated. 

363, 243. flat-caps. A kind of cap enjoined to be worn by 
citizens on certain occasions, by a statute of 1 5-1. SeeStow's Sur- 
vev (ed W. J. Thomas, 1 842, pp. 198-199) for an account of 
these caps. Cf. Ex-ery Msr. ir. His Hum:..-, u. I, " From my flat- 
cap unto mv shining shoes." 

363, 24:-24.4- cuckolds . . . banckrupts . . . punckes 
cockatrices. The p.is^jages referred to by Dekker are Poc- 
cstfr, 107, 4S-108, -q; 109, 1-4; 99- 9". ^^ lOi, 17S. 



438 JpoCffif 

363, 145. two poets. Crispinus (Marston) and Demetrius 

(Dckkcr) in Poetuster. 

363, 248. company of horrible blacke fryers. Poet- 
aster was performed at the Black Friars Theatre, as is stated on the 
title page of" the quarto, 1602. 

363, 252. arraign'd poet. Cf. the title of Poetaster or Hit 
j4rrui^nmer:t. 

363, 253. hang'd. See 285, 141-142, note. 

363, 254. part-takers. A play on the word " partaker," a 
sharer, and " part-taker," one who takrs a "part " in a plav. 

363, 254. copper-lac'd Christians. See 286, 176, 

note. The mention of Purgatory, one of the beliefs of the Roman 
Catholic Church, perhaps glances at the fact that Jonson was a 
Catholic. See 349, 1 i X, note. We do not know what " player " 
is here referred to bv Dckkcr. 

363,258. foure wenches. Miniver, Pctula, Philocalia, and 
Dicacc. 

363, 261. they envy me. See Poetaster, 158, 475-484. 

364, 2S0. must be hang'd. Sec 285, 141-142, note. 
364,282. seame-rent lye. Sec 295, 396, note j also Po*/- 

"^'"■^ 53. 79- 

364, 289. bond-slave . . . Parchment. A play on the 

word " bond." Parchment was used for bonds. 

365, 296-297. great in some bodies books ; i. e. in 

debt. See Poetaster, ^3^ 88, note. 

365* 3°°- a bill. Play on "bill," which means an account, 
and also a kind of halberd, carried especially by watchmen. 

365, 301. suite. Play on the word. 

365,304. we have Hirenheere. Hiren or Hyren, a char- 
acter in Peele's play. The Turkish Mahomet and Hiren the Fair 
Greek (1594.?), was used as a name for harlots, and also, as Haw- 
kins says, "a cant name for a sword." Perhaps a play on "iron." 

365, 309. fooles cap . . . Poetasters. See Poetaster^ 
164, 614. 

365, 319-320. carry. . . to court. In Poetaster^ v, 3, 
Tucca, Demetrius, and Crispinus are punished at Court in the pre- 
sence of Caesar. 

366,326. proceede you masters of arte. See 312, 15, 



jliote0 439 



note ; also 38 1, 115. This is the technical language of the Uni- 
versities. 

366, 328. Grumboll. Perhaps, as Dr. Scherer suggests, the 
same as Grumball, the name of a devil in Dekker's If this be not a 
Good Pla^^ I, I {Worh^ Pearson, iii, p. 270) ; but cf. Alisogor.us, 
IV, I (1577), " an't had not been for thee, saddlebacked grumbold! 
I 'd got well by this shift." Query : grumbold = a sour grumbler .? 

366,329. Mum. /. ^. beamummcr, in themaske (?). 

371* 9^-9^- Charme . . . circle. Sec Poetaster, 121, 9, 
note. 

372, 103. "wine and poison. A sleeping potion is used in 
Romeo and Juliet and in several other plays. 

378, 54. mistery. 378, 55. motionles Both are excla- 
mations, but there is a play on each word. A " mystery" was a 
play based on a subject taken from the Bible. A * ' motion ' ' was 
a kind of puppet show. 

379, 61. tongue tipt with poison. Wat Terrill killed 
William Rufus with an arrow, according to the story. This is per- 
haps glanced at by Dekker here. 

380, 90. delude me not. Hawkins corrected the quarto, 
which reads, "delude we not." 

381,115. take degree. See 312, 15, and 366, 326, notes. 

381, 117- whip of men. Cf. 291, 279-282 The refer- 
ence IS probably to the words of Asper (Jonson) in the Induction 
to E-very Man Out of His Humour: 

" I '11 strip the ragged follies of the time 
Naked as at their birth . . . 
. . . and with a whip of steel, 
Print wounding lashes in their iron ribs." 
Chrisoganus (Jonson) in Marston's Histriomastix, n, 65, is said to 
** carry just Ramnusia's whyppe, to lash the patient." 

381. 119. poets crowne. See Poetaster, 49, 261, note. 

382, 123. True Poets . . . crown'd. The Prologue to 
E'very Man in His Humour (printed first in the folio, 16 16) has 
these lines: 

•* Though need make many poets, and some such 
As Art, and Nature have not better 'd much." 
Wc do not know when they were written. 



440 Ji^OtCflf 

382, 134.-135. not . . . great. Cf. Poetatter, 135, 24- 
136, 17. 

382, 137. selfe-creating Horace. Jonson had represented 
hiniicit as Huracc in I'oetjiter. 

382, 1 38. his shaddow. Asinius Bubo. 

382, 139. vertues Spheare. Sec /VfMjrfr, 19, 136, note. 
382,141. his Masesties . . . dog^S. As Dr. Schcrcrsays, 

the " dog3 " were the bellmen, and Dekker writes in the preface 
to The Be/man of London : "My Bell shall ever be ringing, and 
that faithful servant of mine (the Dog that follows me) be ever 
biting these wild beasts, etc." (Temple classics, p. 68. See also 
facsimile of title-page of the first edition of The Be/man. ) 

383, 144. the composer. Sec Poetaster, k^q, i, note. 
S^Si ^59- reprehended. l"sed by Vaughan fur apprehended. 
383, 161. New-found Land. Taken possession of in the 

name of Elizabeth by Sir Humphrey Gilbert in I 583. Discovered 
by Cabot in 1497 and much earlier by the Norsemen (c. 1000). 

383, S. D. two pictures. One, of the Roman Horace, 
the other of Horace-Jonson. Two pictures are introduced in sim- 
ilar manner in Antonio and Alel/ida, v, I (1600). See Penniman, 
T/ie fVjr of the Theatres, pp. 98-IOI. 

383, S. D. Satyres. Satyrs had horns and legs like goats, but 
bodies and heads of men. The words "Satyr" and "Satire" 
arc often played upon. See Poetaster, 99, 121-122. 

383, 164. baite . . . place-mouth yelpers. An allu- 
sion to bull-baiting and bear-baiting, which were a popular form of 
amusement at Paris Garden. 

383, 165. gurnets-head. The gurnet was a kind of fish 
with a Very large ugly bead. 

384, 170. Sultane Soliman. See 339, 152, note. 
384, 175. Has. He has. 

384, 178. S. George . . . the Dragon. The popular 
patron saint of England was St. George, a Christian martyr of the 
early part of the fourth century. He was adopted as patron saint 
by Edward III. The story of his fight with the dragon made him 
the Christian Hero of the Middle Ages For an account of the St. 
George's, or Mummers', plays, see Chambers, The Mediaeval 
Drama. 



jliote0 441 

384, 180. TawSOOne. Welsh, "taw a son "= hold thy 
tongue. A Dictionary of the fVelsh Language, W. Owen, 1803, 
8. V. " son." 

384, 183. graines. An old word for the fork of the body, 
the lower limbs ; hence also bough or branch. Tucca means, prob- 
ably, that he is one of the King's chief supporters. 

384, 188. Pantilius Tucca. This is the name as given in 
Poetaster. Elsewhere in iiatiromastix he is called simply Tucca. 

384, 190. fy-fy-fy. Tucca stutters. See 286, 164, note. 

384, 191. whirligig. This was a common word. There is 
no allusion, as Dr. Scherer thinks, to Sharpham's Cupid's Whirli- 
gigs 1606. 

384, 193. Tamor Cham. Henslowe's Diary (ed. Greg, i, 
pp. 14, 15, 30, 42, 49, 171, 182) contains records concerning 
Tamar Cam, tamberamc. Parts I and 11, on dates from 1592 to 
1602, plays which Mr. Greg [Diary^ 11, p. 156) thinks "had 
probably been originally written as a rival to Tamberlaine, which 
was an Admiral's play." Tamor Cham was the great Tartar King. 

385, 198. beare-'whelp ; /. e., Horace, who had been called 
also Hunkes. See 295, 387, note. Tucca refers to 383, 1 62, 
"baitc one at that stake," etc. 

385, 201, Morter-Morphesis. A play on the word to 
/cfer to Jonson's former trade as bricklayer. Cf. *' Morter-treader," 

347, ^^ 

385, aio. Timonist. Timon, the Athenian philosopher, de- 
spised the world and his name became proverbial. Cf. the old Ti- 
mon, and Shakespeare's Timon of Athens. 

385, 211. the general leprozie of sinne. Cf. Shake- 
speare, Timon, iv, i, 30, "their crop be general leprosy." 

385, 215. bug-beare. Bug = bogy, a goblin, a bear-goblin or 
specter. 

385, 7,l6, campe royall. The main body of an army with 
the commander J hence, fig., a great number. 

385, 217. nastie tortois. See 293, 340-341, note; 
Poetaster, 5, 14, note, and 1 76, 180-181. 

385, 220. revelling and araigning. Cf Jonson's titles, 
Cynthia' s Re'vels, and Poetaster, or His Arraignment. 

386, 221-222. Tyber the long-tail'd Prince of 



442 jpoteflf 

Rattes. Tyber, Tybert, or Tybalt, was the name of the cat In 
the fli.ior\- of Re\r.ard the Fox. 

386, 229. muse stand to the barre. Cf. 267, 15, and 

Poetaster, 147, 206. 

386, 233. Thy pride and scorne. Cf. Poetaster^ 154, 

368-385, and Cynthiai Revels^ iii, 4 , 

Arett. . . . nor would I have 
Virtue a popular regard pursue : 
Let them be good that love me though but few. 

386,235. strong pilles. See 290, 269, note. 

386, 245, satyres coats . . . service, Horace and 
Asinius were dressed as satyrs. To strip of uniform was to discharge 
from service. Dr. Scherer quotes Poetaster, Z'J, 104; but that scene 
is not in the quarto and the line is a translation of Horace, Sat. 2, 
I, 64, where detrahere pellem means to strip off a mask. 

387, 256. Callinoes. "Calino obs. rare [Perh. suggested 
by * calino custure me,' the corrupt form of a popular Irish melody 
frequently mentioned c. 1600 (cf. Shaks. Hen. V^ iv, 4, 4, and 
editors)."] N.E.D. 

387, 256-263. nay . . . so. The quarto assigns this speech 
to Tucca. Dr. Scherer assigns it to Vaughan. The last lines, " nay, 
by Sesu . . . so," are probably an interruption by Vaughan, as 
" by Sesu " is one of his expressions. 

387, 258. your face. Jonson mentions his " rocky face " in 
lines on My Picture left in Scotland. See also 388, 277 and 288. 

387, 261. biggin. A child's cap, a night-cap, or a coif of a 
sergeant-at-law. This is a reply to the coat and fool's cap put on 
Demetrius, Poetaster, 1 64, 613-614, and to the vizards put on 
Tucca, Poetaster, 158, 460. 

387, 265. I owe thee a whipping. See Poetaster, 100, 

I3I-I32. 

387, 266, roddes in pisse and vineger. '*To have a 
rod in pickle " is to have a beating ready for somebody. It was sup- 
posed that a rod was made tougher and more pliable by this process. 

387, 267. Whipping a' th Satyre. In 1601 appeared 
The Whipping of the Satire, by W, I., conjectured by Dr. Brins- 
ley Nicholson to be William Ingram, a Cambridge man. In it 



0Ott& 443 

Marston's satires were attacked Soon appeared TAe Wkipper of the 
Satyr Cy 1 60 1. Then came No fVhippinge, nor trippinge, 1 601. 
(See printed catalogue of Brit, Mus Library for these books. ) 

387, 268. Whipping of the blinde-Beare. ** To this 

entertainment [bear-baiting] there often follows that of whipping a 
blinded bear, which is performed by five or six men standing circu- 
larly with whips which they can exercise upon him without any 
mercy, as he cannot escape because of his chain." Hentzner, Itin- 
erary, 1598, quoted in Strutt, Sports and Pastimes of the People of 
England^ 183 1, p. 258. 

387, 273. sup up. A play on ** usurpc " in the preceding 
line. 

388, 274. King Cambises. There is a play. The Life of 
Cambises, King of Persia (Stat. Reg, 1 569-70), by Tho. Preston. 

388, 277. beard's afraide. See 293, 344-345, note. 

388, 283. great mens famyliarity. See Poetaster, 165, 
636. This is also a kind of reply to Poetaster, iii, i, in which 
CrispLnus is ridiculed for doing th- thing of which Horace is here 
accused, 

388, 284. badge of gentlemens company. The badge 
was originally an emblem worn by a knight and his followers to 
identify them. 

388, 286. tackt . . . pointes. Fastened with points or 
lacings. 

388, 301. Any . . . thing. The quarto assigns this line and 
389, 312-313, to Crispinus. They belong to Asinius. 

389, 309. carry Lattin poets about you. This is said 
to Asinius, who imitated Horace. Fuller (Worthies, 1662) states 
that Jonson while working as a bricklayer with a trowel in his hand 
had a book, said to be Tacitus, in his pocket. 

389, 316. runne Red-cap. See 280, i, note, for Mr. 
Hart's opinion that Asinius is Drayton and " Red-cap " an allusion 
to Drayton's play, Mother Red-cap, mentioned by Henslowe 
(Diary, ed. Greg, ir, p. 1 89). See 325, 263, note. 

389, 321. many . . . parcels. Perhaps, as Dr. Scherer 
suggests, an allusion to the Palinode in Cynthia'' s Revels and the 
oath of Crispinus and Demetrius in Poetaster, v, 3. 

390, 337-338. new play . . . Revels. There are numcr- 



444 jpotefif 

ous references to the stealing of ideas and jests from other writers. 
Cf. Jonson's Epigrams, 56, and 100, both perhaps on Marston j 
also the induction to Cynthia s Rete/s, and the Prologue to f^ol- 
pone. 

390, 338. the Temples Revels. Gerard Leigh, in his 
Accedence of Armorie (1612), describes one of the Temple revels, 
and John Manningham, a student in the Middle Temple, wrote in 
his Diary (Camden Soc. repr. p. 18), Febr. .i6oi. "Feb. a. At 
our feast we had a play called Twelve Night or What You Will," 
[etc.]. See also Fortescue, De Laudibus Legum Anglia, for an ac- 
count of the old customs. 

390, 339. Tango. This may have been the name of a dog 
at the bear-garden. Dr. Scherer quotes Englishmen for my money ^ 
Hazlitt, Dodsley x, 521, "These tango-mongoes shall not rule 
o're me." The derivation and meaning of the word are not known. 

390, 340-341. sit in a gallery. Cf 394,7. The gallery 
was the best place in the theatre, the price of admission being com- 
monly two-pence; see Poetaster, 71, 147, note. 

390, 350. lordes roomes. *' I meane not into the Lords 

roome (which is now but the Stages Suburbs): No, those boxes, 

. . . are contemptibly thrust into the reare, and much new Sat- 

ten is there dambd, by being smothred to death in darknessc," 

Dekker, The Guls Hornbrok (Temple classics, p. 48). 

390> 353- pennes . . . diseases. Cf. Induction to £i/*ry 

Man out of His Humour, and also Poetaster, v, 3. 

390. 356-391, 357. marriage . . . Wits and neces- 
sities. An imitation of the titles of old interludes. The Marriagt 
of JVit and Science, 1579, and The Marriage of fFit and JVit- 
dom, 1579. 

39I> 359- Whitson-AIe. "A rural festival where of 
course much ale was consumed." Nares. 

391, 364. thy head Holofernes. The story of Judith and 
Holofernes as told in the Bible was familiar. There was a play, 
Holophernes, acted in I 556, and an old ballad. The Overthroiv of 
Proud Holofernes. The name occurs among the characters in 
Love' s Labour 'i Lost, 1 598, 40, and in Marston's What You Will^ 
1601. 

391, 370-371. jestes upon his knight-hood. Where- 



i^otesf 445 

ever Jonson used the word " Knight " in the quarto of Poetaster 
he substituted another word in the folio, evidently as a result of 
criticism or a command from someone in authority. See I5i ^9-30* 
note. 

39 ^» 374- Doctor Doddipol. Doddipol was a name for a 
stupid person: cf. Dekker, Oldt Fortunatus (Pearson, i, 155), *' ile 
proceede Doctor Doddipoll." There was a play, The Wisdom of 
Doctor Doddypoll, published 1600, but *• clearly an older play" 
(Fleay, Biog. Chron. 11, 1 55). 

391* 376-378. misse-likt , . . element. E'very Man 

out of His Humour and Cynthia^ s Re-vels were presented at Court. 
On the title-page, quarto, 1 601, of Cynthia's Re-vels are the lines: 

^od non dant proceres, dabit histrio — 

Haud tamen in'videas 'vati, quern pulpita pascunt. 

Cynthia's Re-vels is dedicated to the Court, in a characteristic 
manner. 

391, 384-392, 386, epigrams . . . shot. Cf. Dekker 
(Gtt/i Hornbooky Temple classics, p. 42), " repeat by heart either 
some verses of your owne, or of any other mans. ... it may 
chaunce save you the price of your ordinary," etc. The "shot" 
was the tavern bill. 

392, 388. Carlo Buffon. A character in E'very Man out of 
His Humour. See Introduction, pp. xix, and Iviii, note 2. 

392, 395- poet-apes. See 313, 55, and 6, 35, note. 

392, 396. Learnings true Mecaenas. Learning's true 
Mecaenas, addressed to the King. Dr. Scherer incorrectly inter- 
prets as = Learning is true, Mecaenas. 

392, 403. hearbe-a-grace. Rue was so called because 
used in exorcising the Devil. Perhaps Tucca plays on the name 
Ru-fus, as he plays oi\ the name William. Sweet-William was a 
kind of pink. 

392, 405. a match or no match. A term in games, also 
a marriage. There can be no allusion, as Dr. Scherer suggests, to 
Rowley's play, A Match or no Match, licensed in 1624. 

392, 405. Lady Furnivall. In Sir Gyles Goosecappe(l^g<)- 
1 60 1 ?) is a character, Lady Furnifall, who *'is never in any so- 
ciable veine till she be typsie." The original may have been some 



446 JpOtf0 



well-known person. See Modern Philology, vol. iv, The Authonhip 
of Sir Gylei Gooucappe, by T. M. Parrott. 

393, 408. hit the mistris. A play on the word. The 
*' mistress " was the small ball in bowls. 

394, 9. an assembly of friers. Tucca appeared in Poct- 
aster, performed at Blackfriars by the children of Queen Elizabeth'a 
Chapel. 

394, 1 1 -1 2. when stiffe Tucca was a boy. Poetauer 

was played by the Chapel Children, and Tucca was therefore played 
by a boy. 

394, 13. the devill and his angels. Dr. Scherer quotes 

A Knights Conjuring, Dekker (Percy Society, vol. v, p. 48), " hee 
can put himselfc upon none but the Divel and his angels, and they 
(to make quick worke) give him his pasport. " The fallen angels 
arc spoken of in 2 Peter 11, 4, and yuJe 6. 

394, 17. dance friskin. See 321, 155, note, and Poet- 
aster^ y8, 320, note. Kemp, famous for his dancing, was at 
this time a member of the Chamberlain's Company, by which Sat~ 
tromastix was performed, and he probably played the part of Tucca j 
hence this offer of Tucca to dance. 

395, 25-30. but if . . , and agen. Jonson speaks of the 
profit derived from these plays. See Poetaster^ 80, 374, note, and 
174, 135-137. See also Penniman, The War of the Theatres^ p. 
105. 

395> 35- this colde weather. Satiromastix was entered, 
S. R. Nov. II, 1 601, and was performed evidently in the autumn. 
The allusion to Christmas in 385, 218, is simply the old saying, 
and is not a reference to the time of performance of Satiromastix or 
of any of Jonson's plays. In 343, 249, *' nowe at Christmas" re- 
fers perhaps to some "holiday performance " (Dr. Parrott, Mod. 
Lang. Rei'ieiu, vi, 3, 404), not to the date of writing of the 
play. It may refer simply to the approaching Christmas. But in 
this connection we may take the remark of Histrio, Poetaster, 80, 
374-375, "this winter has made us all poorer," etc. 



Tht place of publication unlea stated is London 

I. TEXTS 
A. POETASTER 

1602, 4". POZT ASTER OR THE ARRAIGNMENT. Ben. JohnSOn. 

1616, fol. The Workes of Benjamin Jonson. [Different 
names of publishers appear on the title-page of different copies of 
this edition,] 

1640, fol. The Workes of Benjamin Jonson, The Second 
Volume. Printed for Richard Meighen. 

1640, fol. The Workes of Benjamin Jonson. Printed by 
Richard Bishop. 

1692, fol. The Workes of Ben Jonson (to which is added a 
comedy called the New Inn). 

1756. The Works of Ben Jonson, ed. P. Whalley. 7 vols. 

1816. The Works of Ben Jonson, ed. W. Gifford. 9 vols. 

1875. The Works of Ben Jonson, ed. W. Gifford, with In- 
troduction and Appendices by Lieut. F. Cunningham. 9 vols. 

1893. Ben Jonson. Selected Plays, ed. B. Nicholson [Mer- 
maid Series]. 3 vols, 

I905> Ben Jonson's dramen . . . nach der folto 1616, 
Wilhelm Bang. Louvain. 

1 905* Poetaster, ed. H. S, Mallory. Tale Studies in Eng- 
lish, New York. 

1906. Ben Jonson's Works, ed. H. C. Hart. [Two vols, only 
published.] 

B. SATIROMASTIX 

1602, 4°. Satiromastix. Thomas Dekker. ^ 

1773. Origin of the English Drama, illustrated in its various 
species. Thomas Hawkins. Oxford. 3 vols. [Vol. 3 contains 
Satiromastix.] 



448 Bibliographic 

1873. Dramatic Works or Thomas Dzkkzr, ed. R. H. 

Shepherd. 

1875. English Plays, cd. Henry Morley, Library of Eng. 
Lit. V. I. Contains Satiromastixy but with several passages omitted. 

1905. Spicimens OF THE Elizabethan Drama. W. H. Wil- 
liams. Oxford. [Contains Act i, Sc. 1 of Satiromastix.] 

1907. Satiro-Mastix. Thomas Dekker. Hcrausgegeben nach 
den Drucken von 1602, von Dr. Hans Scherer. Mauri alien zur 
KunJe da alttrtn Engliuhen Dramas. Louvain. 

II. BIOGRAPHICAL AND CRITICAL 

This list contains the titles of hooks -which hear on Poetaster, 
Satiromastix, and the other plays ivhich contain satirical matter 
pertaining to Jonson s relations ivith his contemporaries. 

161O, 4°. Histriomastix, or the Player Whipt. 

1691. An Account of the English Dramatick Poets. 
Gerard Langbaine. Oxford. 

1799. Shakespeare, Ford, and Jonson. E. Malone, in Ma- 
lone's Edition of Shakespeare, vol. 11. 

1808. An Examination of the Charges Maintained by 
Messrs. Malone, Chalmers and others of Ben Jonson's 
Enmity, etc., towards Shakespeare. O. G. Gilchrist. 

1817. Shakspeare and His Times. Nathan Drake. 2 vols. 

1 83 1. Sports and Pastimes of the People of England 
FROM the Earliest Period to the Present Time. J. Strutt. 

1836. Ben Jonson und seine Schulz. Wolf Graf von Ban- 
dissin. Leipzig. 

1 84 1. A Knight's Conjuring etc. Thomas Dekker, cd. 
E. Rimbault. Percy Soc. v. v. 

1842. Notes on Ben Jonson's Conversations with Wil- 
liam Drummond of Hawthornden, cd. David Laing. Shake- 
speare Society. 

1845. Diary of Philip Henslowe, 1591-1609, cd. J. P. 
Collier. Shakespeare Soc. Puh. 

1847. Essay on the Life and Dramatic Writings of Ben 
Jonson. Alexander Schmidt. Dantzig. 



llBibliograp^^ 449 

1856. The Works of John Marston, ed. J. O. Halliwell. 

1858. The Dramatic Works of John Lyly, ed. F. W. 
Fairholt. 

1858. John Webster's dramatischk Dichtungen, nebst 
Stucken von Marston, Dekker, etc. F. M. Bodenstedt. Shaken 
speare'i Zeitgenossen und ihre tVerke, Berlin. 

1864. Shakspere and Jonson, Dramatic versus Wit Com- 
bats, etc. Robert Cartwright. 

1870. Ben Jonson's Quarrel with Shakespeare. North 
Britiih Revieiv. July. N. Y. and London. 

1874. On Metrical Tests for Authorship and Date. F. 
G. Fleay. Tie Neiv Shakespeare Society'' s Transactions. 

1876. Shakespeare Manual. F. G. Fleay. 

1 878* The School of Shakspere. Richard Simpson. 2 vols. 

1879. Shakespeare der Kampfer, in weitere Quellen- 
massige Beitrage zu Shakespeare's literarischen KAmpfen. 
Erlangen, 1881. 

1879. John Marston's Poems, ed. A. B. Grosart. Manches- 
ter. 

1879- Seven Deadly Sins of London. T. Dekker, 1606, ed. 
Edward Arber. 

1881. Ingleby's Shakespeare: The Man and the Book, 
Part n. F. G. Fleay. 

1 881. Calamities and Quarrels of Authors. Isaac Dis- 
raeli, ed. Earl of Bcaconsfield. 

1883. Memoir of Thomas Lodge. E. W. Gosse. Seventeenth 
Century Studies, p. 11. 

1884. Shakspere and Montaigne. Jacob Feis. 

1884. The Non-Dramatic Works of T. Dekker, ed. A. B. 
Grosart. The Huth Library. 5 vols. 

1885-96. The Complete Works in Verse and Prose of 
Samuel Daniel, ed. A. B. Grosart. 5 vols. 

1885— 1903. Dictionary of National Biography, ed. Les- 
lie Stephen. New York and London. 

1886. A Chronicle History of the Life and Work of 
William Shakespeare. F. G. Fleay. 

1886. Shakespeare AND Marston. Shakespearianay i, pi>. 103- 
106; pp. 136-140, F. G. Fleay. Philadelphia. 



450 Bibliograp!)^ 

1886. The Pilgrimage to Parnassus, with the two parts 
or THE Return from Parnassus, cd. W. D. Macray. Oxford. 

1887. TheWorks ofJohn MARSTONjCd. A. H. Bullen. 3 vols. 

1887. Thomas Dekker. A. C. Swinburne. Nineteenth Cen- 
tury^ XXI, p. 81. 

1888. Thomas Dekker, ed, Ernest Rhys \^Mermaid Series]. 
London. 

1888. Ben Jonson's Discoveries. A. C. Swinburne. Fort- 
nig/it/y Rev. 50 : 425. 

1888. Ben Jonson. A. C. Swinburne. Nineteenth Century^ 
xxiii, pp. 603, 693. 

1888. John Marston. A. C. Swinburne. Nineteenth Cen- 

1889. Marston and Histriomastix. Notes and ^enes, i, 
66 ff. 

1890. Marston's Shakispearianisms. L. M. Griffiths. Poet 
Lore, II, 6. Boston. 

1890. A Chronicle History of the London Stage. F. G. 
Fleay. 

1891. A Biographical Chronicle of the English Drama. 
F. G. Fleay. a vols. 

1894. Early London Theatres. T. F. Ordish. 

1895* Ben Jonson's Theorie des Lustspiels. Ph. Aron- 
stein. Anglia 17, p. 466. Halle. 

1895. John Marston als Dramatiker. Ph. Aronstein. En- 
glische Studien, xx, pp. 377-396. Leipzig. 

1895* Quellen-Studien zu den Dramen Ben Jonson's, etc. 
E. Koeppel. MUnchner Beitrage zur romanischen und englischen 
Philologie. Heft. 11. Erlangen. 

l895> Shakespeare burlesqued by Two Fellow Dramatists. 
Henry Wood. American Journal of Philology, xvi. New York. 

1897- The War of the Theatres. Josiah H. Penniman. 
Series in Philology, Literature and Archaology, University of 
Pennsylvania, iv, 3. 

1897* '^"^ Dramatic Dissensions OF Jonson, Marston, and 
Dekker. James T. Foard. Manchester Quarterly, Jan. and April. 

1898. Brief Lives chiefly OF Contemporaries . . . between 
1669 AND 1696. John Aubrey, ed, Andrew Clark. Oxford. 



1899. A History of English Dramatic Literature to 
THE Death of Queen Anne. Adolphus William Ward. 3 vols. 

1899. The Stage-(|2uarrel between Ben Jonson and the 
SO-CALLED Poetasters. Roscoe Addison Small, Ph.D. Forschun- 
gen ■zur englischen sprache und litteraiurj herausgegeben von Eugen 
Kolbing. Breslau. 

19OI. The Works of Thomas Kyd, ed. F. S, Boas. Oxford. 

1904. Shakespeare Documents. D. Lambert. 

1904. Shakespeare und Ben Jonson. Ph. Aronstein. Engli- 
iche Studien, 34. Band, pp. 193-211. 

1904-8. Henslowe's Diary, ed. W. W. Greg. 2 vols. 

1908. Elizabethan Drama. F. E. Schelling. 2 vols. Boston. 

1908. Children of the Chapel at Blackfriars. C. W. 
Wallace. Uni-versity of Nebraska Studies, vol. viii, nos. 2 and 3. 

191 1. English Elements in Jonson's Early Comedies. C. 
R. Baskervill. Bulletin of the Uni'versity of Texas. 

191 1, The Tudor Drama. C. F. Tucker Brooke. Boston. 



(0lo)3siatr 



A*, he; of. 

abstracted, abstruic, hard to 
understand. 

accost, to draw near to, be- 
come familiar with. 

aforehand, previously. 
agnomination, word-play. 
alias dictus, otherwise called. 
altitonans, thundering on 

high. 
apt, to prompt, to dispose, 
an, and, if. 
armorie, arms collectively. 

balsamum, a sweet-smelling 
resinous liquid, some kinds of 
which were costly and used 
for perfume. 

ban-dog, a fierce watch-dog. 

barathrum, a gulf or pit. 

barmy, frothy, yeasty. 

bench-whistler, a loafer. 
bescumber, to defile with 

excrement. 

birde-bolt, an arrow for shoot- 
ing birds. 

blazed, described heraldically. 

blow, enlarge, magnify, raise. 

bulchin, a bull calf; a term of 
contempt. 

bumble-broth, a mixed -up 
kind of broth. 



bumrowle, bumroll, a kind of 

bustle. 
busse, kiss. 
button-breech, the button on 

the breech of a cannon. 
by, of, concerning. 

caduceus. Mercury's wand 
with entwined serpents. 

carrawaies, a sweetmeat 
made of caraway seed. 

casheere, dismiss. The word 
to-day has a military connota- 
tion, to dismiss by court-mar- 
tial. 

cast, to vomit. 

catamite, a boy kept for un- 
natural purposes. 

catch-pole, a term for a sher- 
iff's officer. 

cates, food, especially dainties. 

charme, a chorus. 

chev'rill, a kind of soft leather; 
hence adj. yielding. 

chiefe, a term in heraldry mean- 
ing the upper third of the 
shield. 

clem, to starve. 

codpiece, a bagged appendage 
in the front of the breeches. 

CoUied, blackened with coal- 
dust. 



^Iofif0ar^ 



453 



COnciuded, enclosed, con- 
tained. 
conny-catch, to cheat. 
Coronator Poetarum, the 

Crowner of Poets. 

cracknels, a crisp kind of bis- 
cuit, 

crop-shin, a kind of herring; 
a term of contempt. 

cub, a term of endearment. 

cure, to cherish, to care for. 

damnified, injured. 

delicates, voluptuous attrac- 
tions. 

division, a musical term, mod- 
ulation, variation. 

dor, an insect that flies with a 
buzzing sound. 

dubblet, a garment for the 
upper body, worn by men. 

dyet-drinke, a drink for med- 
icinal purposes. 

eringo, a confection, aphrodis- 
iac in effect, made from the 
root of the sea-holly. 

exhibition, an allowance for 
support. 

falsefiers, fireworks. 
farding, farthing. 
fardle, a bundle or packet. 
fartingall, farthingale, a kind 

of hoop-skirt. 
fatuate, silly. 
feature, a creation. 
fegaries, vagaries, notions. 



femall, plain, simple. 

fetches, tricks, stratagems. 

forge, to invent something un- 
real or untrue. 

freeze gowne, a gown made 
of *' freeze," a coarse cloth. 

furibund, mad, raging. 

fustie, ill-smelling, mouldy, 
stale. 

glavering, flattering. 

glose, flattering talk. 

glosse, interpretation. 

Gods a mee, God save me. 
*'Save" is probably to be 
understood in " Gods me," 
"Gods my bodie," **God8 
my life." 

goll, hand. 

gramercie, thanks. 
grimalkin, an old cat ; an old 

woman. 
groate, a silver coin worth 4d. 
gulch, a glutton. 
gull, a simple fellow. 

halfe-pike, a short spear. 
hanger, a loop on the belt for 

the sword. 
'Hart, God's Heart; an oath 

or exclamation. 
here-hence, in consequence of 

this. 

ibides, pi. of ibis, a kind of 

bird. 
impale, to encircle, as with a 

crown or garland. 



454 



^lotffl^ar^ 



incontinent, immediately, 
inditements, writings. 
ingage, to bind by a pledge or 

gage. 
inprimis, in the first place, 
intend, to fix the mind upon. 

jerkin, a close-fitting short coat, 
jerk, yerk, to whip. 
J*&&^"JO&&^» ^ humorous 

word for riding. 
joynt-stool, a stool made of 

several parts by a joiner, 

laurefyed, crowned with 

laurel. 
licentious, unrestrained, in 

several senses. 
licke-trencher, one who 

licks tlie trencher or platter. 
linkes, torches. 

maggot-a-pye, magpie. 

mag^nificate, to magnify. 

maker, poet. 

malepartly, impudently. 

mandilian, a kind of overcoat 
worn by soldiers and servants. 

marchant, a kind of plum. 

Marie, marry, by Mary. 

marmilads, a preserve or con- 
fection of fruit. 

marse, march. 

mis-prize, to misconstrue. 

moderne, trite, trivial. 

moose, muse. 

moyle, mule. 

mum-budget, a game. 



muske-cod, a musk bag ; a 
scented fop. 

mutton, a cant term for pros- 
titute. 

mych, to hide, sneak, skulk. 

neat, unmixed. 
i neufe, hand. 
nuncions, a cup or draught at 
noon, luncheon. 

oade, woad, a plant which 

yielded a blue dye. 
oblatrant, barking, railing. 
Obstupefact, stupefied. 
organon, an instrument or 

organ. 
0"wnds, His wounds. 

palinode, a recantation. 

palme, triumph 

paralell, an equa' ^ a counter- 
part 

paranomasie, word-play. 

pardie, an oath, by God. 

passingly, exceedingly, sur- 
passingly. 

patch pannell, "one who 
patches panels;? a jobbing or 
botching carpenter ; an abusive 
appellation." N. E. D. 

pattin, a shoe with a wooden 
sole. 

pedant, a schoolmaster. 

penny-biter, one who will 

bite for a penny, a sharper. 
pent-house, a projecting shed 
on a door or window. 



^Io00ar^ 



455 



perpetuana, a durable cloth. 
petasus, a kind of hat such as 

was worn by Mercury. 
pilcher, a person who wears a 

pilch, or leathern jacket. 
pinnion, opinion ; a play on the 

word. 
poet-ape, an inferior poet, an 

imitator. 
point-trusser, one who ties 

or trusses the points or laces. 
poult-foot, chicken - footed, 

club-footed, lame. 
preasse, crowd. 
presently, at once. 
pro-rumped, burst forth. 
ptrooh, an expression of con- 
tempt. 
pudding;, a kind of tobacco, 
puffe, a conceited, pufFed-up 

person, 
punke, a prostitute. 
pUSSe, a term of endearment. 

quack-salver, a quack doctor. 

quarried, preyed upon, or fur- 
nished with prey. Quarry was 
the term applied to a heap of 
dead game, also to the object 
pursued. 

quarterage, tribute paid quar- 
terly. 

queane, a scold, a low woman. 

queere, choir. 

quotidian, daily. 

ramp, rear. 
rand, rant. 



rapt, to seize and carry off. 
rate, punish. 
risse, risen. 
rooke, a simpleton. 
rouncevall, loud, strong. 
rubbers, the last game played 

to decide a tie. 
rue, pity, sorrow for. 
ruffe, a kind of collar or frill 

projecting from the neck. 

sack, a kind of wine j also a bag. 

SCarabe, a kind of beetle bred 
in dung. 

sconce, a small fort; hence, a 
helmet, the skull, the head. 

se'wer, a servant who waited 
on the table. 

shat, shalt. 

shot-free, scot-free, free of 
the payment. 

sinke point, cinque point, the 
fifth point from the end of the 
board in backgammon. 

skneakes-bill, sneak-bill, a 
sharp-nosed, sneaking fellow. 

'slid, God's lid. 

smeeter, cimitar, scimitar, a 
kind of sword. 

snuffers, dishes for holding 
snuff. Halliivell. An imple- 
ment for trimming the wick 
of a candle. 

sock, a kind of shoe worn by 
comedians. 

spermacete, a substance de- 
rived from whales and used 
for cosmetics. 



456 



^lofi?0ar^ 



'sprecious, God's precious. 
Staffe, stave or stanza. 
SUCkets, a dried sweetmeat or 
sugar plum. 

sumpter horses, pack. 

horses. 

table man, a piece at chesj or 
backgammon. 

tag, a tip or metal ornament at- 
tached to the end of the lace 
or point. 

tenters, frames on which to 
stretch cloth to dry. 

termination, determination. 

teston, a silver coin, in the 
time of Henry VIII worth a 
shilling, later a sixpence. 

tidy, brave, skilful. 

timoria, revenge. 

touch, to test. 

traine, plot. 

trick, to draw armorial bear- 
ings, especially in black and 
white. 

troglodite, a cave-dweller. 

Uds blood, God's blood. 
Uds-foote, God's foot. 
undertaker, one who assumes 

responsibility. 
untruss, to untie the points 



expose ; to punish. 
up tailes all, riotous confu- 
sion or revels. 

vaile, to uncover the head, 
varlet, a rascal j a servant. 
Veni, I have come, 
villiacoes, cowards, base fel- 
lows. 
vindicta, revenge. 
vizard, vizor, mask. 

wag-tailes, prostitutes. 

W^elkin, the heavens. 

whim wham, toy, odd de- 
vice, whim. 

whirligig, a whirling toy. The 
word is often used humor- 
ously or contemptuously. 

winch, to wince. 

•wote, you know. 

wriggle-tailes, prostitutes ; 
a cant term of Tucca's. 

WU, wulle, 1st per. pres. sing. ; 
•wut, wult, 2nd per. pres. 
sing, of ivilL 

^ud, a form of ivould. 

yeoman, a gentleman attendant 
on a noble household. 

zany, a buffoon, one who tried to 
imitate the clown or tumbler. 



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